Solving N k Queens Using Dancing Links

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少女时代《Dancing Queen》韩文歌词中文歌词英文歌词

Dancing Queen演唱：少女时代Girls’ generationLet’s danceHit the beat and take it to the fast line무대위너를처음봤을때내주위에시간들은모두멈추고가슴만뛰어평범한나의인생을바꿔준넌나의댄싱퀸지루한나의일상을깨워준하룻밤의파티내맘을사로잡는댄싱阿그화려한솜씨너의그이기적인맵시그아찔한섹시숨막힐듯해Yeah한참을지나내가무대위에서그때그대처럼춤추고노래해마치꿈같아..정말로평범한나의인생을바꿔준넌나의댄싱퀸지루한나의일상을깨워준하룻밤의꿈내맘을사로잡는댄싱그화려한솜씨너의그이기적인맵시그아찔한섹시리듬에몸을맡겨나Yeah넌나의댄싱퀸누가뭐래도영원히(I don’t care what anyone thinks cause you’re the one who makes me dance.You’re one th e who makes me sing. Can’t nobody be my dancing queen but you.)내마음속의스타넌나의hero 넌나의hero 넌나의hero(I get the “chills” when I see you move, see you groove.The way you shake your body is“Look at me everybody!” Your dancing makes me “hot”.)댄싱, 그화려한댄싱니이기적인맵시그아찔한섹시리듬에몸을맡겨나Yeah날사로잡은댄싱니그화려한솜씨그이기적인맵시아찔한섹시숨막힐듯한너YeahBring it on파티젊음을불태울댄싱파티모두다함께해파티젊음을불태울댄싱파티You can dance, you can jive, having the time of your life你可以跳舞,你可以相当有自己的人生的时候See that girl, watch that scene, dig in the dancing queen看到少女到现场观看,在挖掘舞蹈皇后Friday night and the lights are low周五晚和车灯低Looking out for the place to go好自为之的地方去Where they play the right music, getting in the swing那里发挥有权音乐摆动阻You come in to look for a king你进来找国王Anybody could be that guy有人可以那家伙Night is young and the musics high年轻的、高的作品中晚With a bit of rock music, everything is fine一点点摇滚音乐,感觉良好Youre in the mood for a danceyoure在花样舞蹈And when you get the chance...而当你得到机会::You are the dancing queen, young and sweet, only seventeen你们是跳舞皇后,年轻又甜,只有17Dancing queen, feel the beat from the tambourine跳舞女王感受到击败来自tambourineYou can dance, you can jive, having the time of your life你可以跳舞,你可以相当有自己的人生的时候See that girl, watch that scene, dig in the dancing queen看到少女到现场观看,在挖掘舞蹈皇后Youre a teaser, you turn em onyoure捉弄人,你就转电磁Leave them burning and then youre gone他们焚烧,然后离开了youreLooking out for another, anyone will do好自为之另一个人会做Youre in the mood for a danceyoure在花样舞蹈And when you get the chance...而当你得到机会::You are the dancing queen, young and sweet,only seventeen你们是跳舞皇后,年轻又甜,只有17Dancing queen, feel the beat from the tambourine跳舞女王感受到击败来自tambourineYou can dance, you can jive, having the time of your life你可以跳舞,你可以相当有自己的人生的时候See that girl, watch that scene, dig in the dancing queen看到少女到现场观看,在挖掘舞蹈皇后。

高二年级英语音乐流派与艺术家创作风格深化理解单选题40题

高二年级英语音乐流派与艺术家创作风格深化理解单选题40题1. In a concert hall, the orchestra is playing a piece of music with complex melodies, harmonious polyphony and strict forms. This kind of music often features the use of symphony orchestra and has a long history. Which music genre does it belong to?A. RockB. JazzC. ClassicalD. Pop答案：C。

解析：题干描述的是古典音乐的特点，古典音乐有复杂的旋律、和谐的复调以及严格的形式，常使用交响乐团演奏并且历史悠久。

选项A摇滚音乐通常节奏强烈、旋律简单直接且具有强烈的节拍感。

选项B爵士乐特点是即兴演奏、节奏复杂且独特的爵士和声。

选项D流行音乐风格较为通俗，节奏轻快，和题干描述不符。

本题没有涉及特殊语法知识。

2. A famous piece of music has a solemn and elegant melody. The composer was a master in the Classical period. He often used sonata form in his works. Which of the following composers might he be?A. Ludwig van BeethovenB. Elvis PresleyC. Bob DylanD. Michael Jackson答案：A。

解析：贝多芬是古典时期的著名作曲家，他的作品常常使用奏鸣曲式。

选项B猫王是摇滚和流行音乐领域的歌手，与古典音乐无关。

选项C鲍勃·迪伦是民谣歌手。

闭眼指挥的卡拉扬英语作文200字运用反复修辞

全文分为作者个人简介和正文两个部分：作者个人简介：Hello everyone, I am an author dedicated to creating and sharing high-quality document templates. In this era of information overload, accurate and efficient communication has become especially important. I firmly believe that good communication can build bridges between people, playing an indispensable role in academia, career, and daily life. Therefore, I decided to invest my knowledge and skills into creating valuable documents to help people find inspiration and direction when needed.正文：闭眼指挥的卡拉扬英语作文200字运用反复修辞全文共3篇示例，供读者参考篇1Conducting Karaoke Blind: A Rhythmic Rhapsody of RevelryThere I stood, baton in hand, poised to plunge into the perilous depths of blind karaoke conducting. A thunderous cheer erupted from the crowd as the opening notes reverberatedthrough the room. With eyes tightly shut, I surrendered to the melodic maelstrom, letting the music engulf my senses.Sway, sway, the baton undulated, mimicking the ebb and flow of the tune. Sway, sway, my body swayed in synchronicity, lost in the intoxicating rhythm. The roar of the audience faded into the background as I became one with the song, a conduit for its emotional expression.Crescendo! The music swelled, its intensity mounting like a tidal wave crashing against the shores of my consciousness. Crescendo! My movements crescendoed in tandem, baton slicing through the air with fervent vigor. A kaleidoscope of sound enveloped me, each note a vibrant brushstroke on the canvas of my mind.Diminuendo, the symphony retreated, its power waning like the setting sun. Diminuendo, my gestures softened, caressing the invisible threads that bound me to the melody. In that moment, I was the maestro, the puppet master orchestrating an auditory spectacle.Ritardando, the tempo slowed, each beat lingering like a lover's embrace. Ritardando, my movements mirrored the languid pace, savoring every nuance, every delicate inflection.The audience held its collective breath, spellbound by the sensual interplay of sound and motion.Accelerando! The rhythm quickened, its urgency pulsating through my veins. Accelerando! My baton became a blur, whirling and twirling in a frenzied dance. The exhilaration was palpable, a torrent of adrenaline coursing through my body.Staccato, the notes punctuated the air with staccato precision. Staccato, my movements echoed their staccato cadence, sharp and defined, like the beating of a thousand drums. The crowd roared in approval, feeding off the infectious energy that permeated the room.Legato, the melody flowed like a gentle stream, its notes seamlessly intertwined. Legato, my baton glided through the air, tracing graceful arcs and sweeping curves. A hushed reverence fell upon the audience, transfixed by the ethereal beauty of the moment.Fortissimo, the music reached a thunderous crescendo, its power threatening to shatter the very foundations of the room. Fortissimo, my movements exploded with unbridled passion, every fiber of my being pulsating with the rhythm. The audience was swept away in the maelstrom, their cheers lost in the resounding cacophony.Pianissimo, the notes trickled like raindrops, their delicate whispers caressing my ears. Pianissimo, my gestures became gossamer threads, weaving a tapestry of subtle nuance. The hush that descended was deafening, each soul enraptured by the ethereal intimacy of the moment.Finale! The symphony reached its climactic conclusion, a triumphant blaze of glory. Finale! I poured every ounce of my being into those final, sweeping gestures, my baton a blazing comet streaking across the celestial firmament of sound.As the last note faded into silence, I stood motionless, drenched in the exhilaration of the experience. The thunderous applause that followed was a mere afterthought, for in those fleeting moments, I had transcended the mortal plane, becoming one with the music itself.Blind karaoke conducting was more than just a performance; it was a sacred ritual, a communion with the very essence of sound. With each gesture, I breathed life into the notes, weaving a tapestry of emotion that enveloped all who bore witness. It was a dance, a symphony, a rhapsody of revelry that defied the constraints of sight and soared on the wings of pure, unadulterated feeling.篇2The Thunderous Silence: A Maestro's Choreography of SoundThe stage loomed before me, a vast expanse of polished wood and hushed anticipation. As I stepped into the spotlight, the weight of a thousand expectations bore down upon my shoulders. Yet, my eyes remained resolutely shut, for this was no ordinary performance. This was the art of blind conducting, a dance of harmony and dissonance, where the baton became an extension of my very soul.With each sweeping motion, I summoned forth a symphony of sound, a tapestry woven from the threads of discipline and passion. The musicians, my willing accomplices, followed my lead with unwavering precision, their instruments singing in perfect unison. The air itself seemed to vibrate with the intensity of our collective effort, a resonance that transcended mere notes and rhythms.Silence, that ever-present companion, enveloped us like a cloak, its embrace both comforting and unnerving. In the absence of sight, my senses heightened, attuned to the subtlest nuances of the music. Each crescendo, each diminuendo,became a visceral experience, a physical manifestation of the emotions I sought to convey.Repeat, repeat, repeat – the mantra echoed within my mind, a constant reminder of the need for precision, for perfection. Every gesture, every nuance, had to be executed with unwavering conviction, lest the delicate balance be disrupted. The slightest falter, the most minute hesitation, could unravel the intricate tapestry we wove.Yet, within this realm of control and discipline, there existed a paradoxical freedom, a liberation from the constraints of the visible world. Unshackled from the distractions of sight, my mind soared, immersed in the boundless realms of sound and emotion. The music became an extension of my very being, a conduit through which I could express the inexpressible.Repeat, repeat, repeat – the rhythm pulsed through my veins, a primal beat that guided my movements, my body a vessel for the transcendent melodies that flowed forth. Each crescendo, a crescendo of passion; each diminuendo, a whisper of vulnerability. The music swelled and subsided, a living, breathing entity that defied the confines of time and space.In those moments of sublime unity, the boundaries between conductor, musicians, and audience dissolved, replaced by asingular, shared experience. We were no longer mere performers, but co-conspirators in a grand orchestration, weaving a tapestry of sound that transcended the physical realm.Repeat, repeat, repeat – the cycle continued, an endless spiral of creation and interpretation. Each performance, a unique expression of the eternal dance between order and chaos, structure and spontaneity. The baton became an extension of my innermost being, a conduit through which the music flowed, an embodiment of the very essence of artistic expression.As the final notes faded into silence, a hush descended upon the hall, a collective breath held in reverence. In that moment, the world seemed to stand still, suspended in a state of awe and wonder. For in that transcendent silence, we had glimpsed the infinite, the eternal dance of sound and spirit, forever etched into the annals of memory.Repeat, repeat, repeat – the cycle continues, the dance eternal, the symphony everlasting. And in those moments of sublime stillness, I knew that I had become more than a mere conductor; I had become a choreographer of the ineffable, a sculptor of the intangible, a maestro of the thunderous silence.篇3The Blind Conductor of Kalangan: A Symphony of ResilienceIn the heart of a small village nestled amidst the lush green hills of Kalangan, a remarkable story unfolds, a story of perseverance, determination, and the power of music to transcend adversity. It is the tale of Ravi, the blind conductor, whose unwavering spirit has inspired a generation of musicians and touched the souls of countless listeners.Ravi's journey began in darkness, a world without sight, yet his passion for music burned brighter than a thousand suns. From a tender age, he found solace in the melodies that danced through his mind, a sanctuary where he could escape the limitations imposed by his disability. His fingers caressed the ivory keys of an old piano, his ears attuned to every note, every harmony, every dissonance.As he grew older, Ravi's love for music blossomed into an insatiable thirst for knowledge. He studied, he practiced, he immersed himself in the intricacies of composition and the art of conducting. His determination knew no bounds, his dedication unwavering, his spirit unbreakable.It was in the small village of Kalangan that Ravi found his true calling, a place where music was the lifeblood of the community. With his keen ear and his unwavering passion, hegathered a motley crew of musicians, each with their own unique story, their own struggles, their own dreams.Rehearsals were a symphony of their own, a cacophony of instruments and voices, each vying for attention, each striving for perfection. Yet, in the midst of this chaos, Ravi stood tall, his baton raised high, his sightless eyes focused inward, his mind painting a masterpiece of sound.Through his gentle guidance, his unwavering patience, and his extraordinary talent, Ravi molded this ragtag ensemble into a harmonious whole. He taught them to listen, not just with their ears, but with their hearts, to feel the music coursing through their veins like a torrent of emotions.And as the notes soared, as the melodies intertwined, as the crescendos swelled and the diminuendos faded, Ravi became one with the music. His body swayed, his arms danced, his heart beat in perfect synchronicity with the rhythms that filled the air.The audience, spellbound, held their breath, captivated by the sheer power of the performance. They witnessed a miracle unfold before their eyes, a testament to the indomitable spirit of a man who had conquered his disability, who had turned his perceived weakness into his greatest strength.In those moments, when the final chord resonated through the hall, when the applause thundered like a rolling wave, Ravi stood triumphant, a beacon of hope, a living embodiment of what it means to persevere, to overcome, to truly live.For in that small village of Kalangan, Ravi had done more than merely conduct an orchestra; he had conducted a symphony of resilience, a masterpiece of human spirit that resonated far beyond the confines of the concert hall. His story, his music, his unwavering determination, became a rallying cry for all those who dared to dream, who dared to defy the odds, who dared to embrace their own unique rhythms and dance to the beat of their own drums.And as the echoes of his triumphs faded into the night, one thing remained certain: Ravi, the blind conductor of Kalangan, had left an indelible mark on the hearts and souls of all who had witnessed his extraordinary journey, a journey that proved, time and again, that true greatness lies not in what we see, but in how we hear the music of life.。

牛津译林版九年级上册Unit5《Artworld》(Integratedskills)说课稿

牛津译林版九年级上册Unit 5《Art World》（Integrated skills）说课稿一. 教材分析《牛津译林版九年级上册Unit 5 Art World》是一篇关于艺术世界的单元，主要介绍了绘画、音乐、舞蹈等艺术形式。

本单元的主题是艺术，通过学习本单元，学生可以了解不同的艺术形式，提高自己的艺术修养。

本节课的主要内容是Integrated skills部分，通过听、说、读、写等多种方式，让学生全面提高自己的英语能力。

二. 学情分析九年级的学生已经具备了一定的英语基础，但是对于一些专业的艺术术语可能还不太了解。

因此，在教学过程中，我需要帮助学生掌握这些专业术语，并能够运用到实际的语言环境中。

另外，由于本节课的内容涉及到艺术，学生可能对某些部分比较感兴趣，但是在语言表达方面可能还存在一些困难。

因此，我需要引导学生积极参与，提高他们的英语表达能力。

三. 说教学目标1.知识目标：学生能够掌握本节课的主要单词和短语，如pnting、sculpture、dance等，并能够运用到实际的语言环境中。

2.能力目标：学生能够听懂、会说、会读、会写本节课的主要内容，提高自己的英语综合能力。

3.情感目标：学生能够了解不同的艺术形式，提高自己的艺术修养，培养自己的审美能力。

四. 说教学重难点1.教学重点：学生能够掌握本节课的主要单词和短语，并能够运用到实际的语言环境中。

2.教学难点：学生能够理解并运用一些专业的艺术术语，如Impressionism、Baroque等。

五. 说教学方法与手段在本节课的教学过程中，我将以任务型教学法为主，结合交际法、情境教学法等多种教学方法，引导学生积极参与，提高他们的英语表达能力。

同时，我还会运用多媒体教学手段，如图片、音频、视频等，帮助学生更好地理解课文内容，提高他们的学习兴趣。

六. 说教学过程1.Pre-reading：通过展示一些著名的艺术作品，引导学生谈论自己喜欢的艺术形式，激发学生的学习兴趣。

Dancing links

Dancing links很久以前就听过Dancing Links，但一直没去看过，这两天简单学习了下。

算法本身和其名字一样，相当的优美，轻巧，与其说是一个算法，不如说是一种数据结构，十字链表的运用使整个过程真的就像跳舞一样。

推荐momodi的【Dancing Links 在搜索中的应用】精确覆盖：#define maxn 1005 * 105int l[maxn], r[maxn], u[maxn], d[maxn], ch[maxn], rh[maxn];int s[1005], o[1005], head, size, len;void remove(const int &c) {l[r[c]] = l[c];r[l[c]] = r[c];for (int i = d[c]; i != c; i = d[i]) {for (int j = r[i]; j != i; j = r[j]) {u[d[j]] = u[j];d[u[j]] = d[j];s[ch[j]] -= 1;}}}void resume(const int &c) {for (int i = u[c]; i != c; i = u[i]) {for (int j = l[i]; j != i; j = l[j]) {s[ch[j]] += 1;u[d[j]] = j;d[u[j]] = j;}}l[r[c]] = c;r[l[c]] = c;}bool dfs(const int &k) {if (r[head] == head) {return true;}int ss = max_int, c;for (int t = r[head]; t != head; t = r[t]) if (s[t] < ss) {ss = s[t];c = t;}remove(c);for (int i = d[c]; i != c; i = d[i]) {o[k] = i;len = k;for (int j = r[i]; j != i; j = r[j]) remove(ch[j]);if (dfs(k + 1) == true) return true;for (int j = l[i]; j != i; j = l[j]) resume(ch[j]);}resume(c);return false;}int new_node(int up, int down, int left, int right) {u[size] = up;d[size] = down;l[size] = left;r[size] = right;d[up] = u[down] = r[left] = l[right] = size;return size++;}void init(int m) {size = 0;head = new_node(0, 0, 0, 0);for (int j = 1; j <= m; j++) {new_node(j, j, l[head], head);ch[j] = j, s[j] = 0;}}int main(int argc, char** argv) {int n, m, cnt;while (scanf("%d%d", &n, &m) != EOF) {init(m);for (int i = 1, j = 0; i <= n; i++) {cnt = scan_int();int row = -1;while (cnt--) {j = scan_int();ch[size] = j, s[j] += 1;if (row == -1) {row = new_node(u[ch[j]], ch[j], size, size);rh[row] = i;}else {int k = new_node(u[ch[j]], ch[j], l[row], row); rh[k] = i;}}}bool ans = dfs(1);if (ans == true) {printf("%d", len);for (int i = 1; i <= len; i++) printf(" %d", rh[o[i]]);printf("\n");} else printf("NO\n");}return (EXIT_SUCCESS);}hust1017 【Exact cover】纯模板题。

A phase I escalating single-dose and weekly Wxed-dose study of cetuximab pharmacokinetics

Cancer Chemother Pharmacol (2009) 64:557–564DOI 10.1007/s00280-008-0904-6ORIGINAL ARTICLEA phase I escalating single-dose and weekly W xed-dose study of cetuximab pharmacokinetics in Japanese patientswith solid tumorsKuniaki Shirao · Takayuki Yoshino · Narikazu Boku · Ken Kato · Tetsuya Hamaguchi · Hisateru Yasui · Nobuyuki Yamamoto · Yusuke Tanigawara · Arno Nolting ·Shinichiro YoshinoReceived: 4 August 2008 / Accepted: 12 December 2008 / Published online: 24 January 2009© Springer-Verlag 2009AbstractPurpose Cetuximab is a therapeutic immunoglobulin G1 monoclonal antibody that recognizes the epidermal growth factor receptor (EGFR). This phase I dose-escalation study was designed to assess the safety and pharmacokinetics (PK) of cetuximab in Japanese patients with EGFR-expressing, advanced, solid tumors and also to look for evi-dence of antitumor e Y cacy.Patients and methods Thirty patients were enrolled in the study; 29 with colorectal adenocarcinomas and one with an adenocarcinoma of the lung. Patients received an initial/ weekly infusion of cetuximab at dose levels of 100/100 (dose level 1), 250/250 (dose level 2), 400/250 (dose level 3), 500/250 (dose level 4) or 400/250 (dose level 5) mg/m2, for 7 or more weeks, with an interval between the initial and second infusion of 1 (dose level 5 representing the stan-dard regimen) or 2weeks (dose levels 1–4 of the non-stan-dard regimens).Results No dose-limiting toxicities (DLTs) were observed during the evaluation period. All patients had at least one adverse event (AE). The most common cetuximab-related AEs were skin toxicity (93% of patients), including acnei-form dermatitis (83% of patients). Two patients experi-enced cetuximab-related grade 3 AEs of skin toxicity and diarrhea after DLT evaluation. C max and AUC0–1 after the initial infusion showed dose-proportional increases. Mean total body clearance (CL) values decreased with dose at the lower dose levels. At doses of ¸400mg/m2, CL values appeared to level o V. Mean trough concentrations for dose level 5 were constant from week 4 (day 29) onward. Two patients (8%) achieved partial response (at 100/100mg/ m2). The overall disease control rate (partial response+ stable disease) was 58%.Conclusion The current study demonstrated that cetux-imab PK and safety pro W les are similar between Japanese and non-Japanese patient populations. It would appear thatK. Shirao · K. Kato · T. Hamaguchi · H. YasuiDivision of Gastrointestinal Oncology,National Cancer Center Hospital, Tokyo, JapanT. Yoshino · N. BokuDivision of Gastrointestinal Oncology, Shizuoka Cancer Center, Shizuoka, JapanN. YamamotoThoracic Oncology Division, Shizuoka Cancer Center, Shizuoka, JapanY. TanigawaraDepartment of Hospital Pharmacy, School of Medicine,Keio University, Tokyo, JapanA. NoltingExploratory Medicine Global Human Pharmacology,Merck KGaA, Darmstadt, Germany S. YoshinoMedical Department, Merck Serono Co., Ltd, Tokyo, Japan Present Address:K. Shirao (&)Department of Medical Oncology, Faculty of Medicine, Oita University, 1-1, Idaigaoka, Hasama-machi, Yufu, Oita 879-5593, Japane-mail: kshirao@med.oita-u.ac.jpPresent Address:T. YoshinoNational Cancer Center Hospital East, Chiba, Japan Present Address:H. YasuiMedical Oncology Division,National Hospital Organization Kyoto Medical Center, Kyoto, Japanthe standard dose of an initial 2-h infusion of 400mg/m2 followed thereafter by weekly 1-h infusions of 250mg/m2 for non-Japanese patients is feasible for future clinical stud-ies in Japanese patients.Keywords Cetuximab · Japanese · EGFR · Safety · Pharmacokinetics · ColorectalIntroductionOver recent years, the development of rationally selected targeted agents such as monoclonal antibodies and small molecule tyrosine kinase inhibitors has o V ered new possi-bilities in relation to improving the e Y cacy of the standard cytotoxic regimens used in the treatment of metastatic colo-rectal cancer (mCRC). The epidermal growth factor recep-tor (EGFR)-targeted immunoglobulin G1 monoclonal antibody cetuximab (Erbitux®) is one such targeted agent.Cetuximab competitively inhibits the binding of endoge-nous EGFR ligands and thus prevents receptor dimerization and downstream signaling [1, 2]. Antibody-binding to the tumor cell may also result in a clinically-important anti-body-dependent cell-mediated cytotoxicity reaction (ADCC) [3, 4]. Randomized mCRC studies in mainly Cau-casian populations have shown that cetuximab, adminis-tered in accordance with the standard dosing regimen of an initial 2-h infusion of 400mg/m2 of body surface area (BSA) followed thereafter by weekly 1-h infusions of 250mg/m2, is e V ective as monotherapy [5, 6] or in combi-nation with irinotecan [5, 7], following the failure of previ-ous chemotherapy regimens. Furthermore, in the W rst-line setting, the phase III CRYSTAL study has shown that the addition of cetuximab to infusional 5-X uorouracil/folinic acid/irinotecan (FOLFIRI) signi W cantly improves the response rate, progression-free survival (PFS) time and R0 resection rate in mCRC patients, compared with FOLFIRI alone [8]. Similarly, randomized studies have demonstrated the e Y cacy of cetuximab in combination with radiotherapy in the treatment of locally advanced squamous cell carci-noma of the head and neck (SCCHN) [9] and in combina-tion with platinum-based therapy in the W rst-line treatment of recurrent and/or metastatic SCCHN [10].Two recent studies in the US have explored the pharma-cokinetics (PK) of single-dose administration of cetuximab in patients with solid tumors, with particular attention paid to the elimination phase [11, 12]. Both studies supported the saturation of EGFR binding at a clinically achievable dose level. A signi W cant association was also noted between cetuximab clearance and both BSA and weight, supporting the use of these parameters in calculating individual cetuximab doses [12]. The primary objective of the current phase I study was to investigate the safety and tolerability of cetuximab in a population of Japanese patients with EGFR-expressing solid tumors. Secondary objectives were to evaluate the PK of cetuximab in Japa-nese patients the (mirroring the recent US PK analyses with an escalating single dose); expression of human antichi-meric antibodies (HACA); the incidence of dose-limiting toxicity (DLT); and the antitumor e Y cacy of cetuximab. Patients and methodsPatient eligibilityOnly Japanese patients, aged between 20 and 74years, with a histologically or cytologically con W rmed advanced solid EGFR-expressing tumor, refractory to a standard therapy or for which no standard therapy existed, were eligible. They required an Eastern Cooperative Oncology Group perfor-mance status of 0–2; a life expectancy of at least 3months after the start of study; adequate hematological (leukocyte count: ¸3,000 and <12,000mm¡3; neutrophil count:¸1,500mm¡3; platelet count: ¸100,000mm¡3; hemoglo-bin: ¸9g/dL), hepatic (aspartate aminotransferase and ala-nine aminotransferase: ·2.5 times the upper limit of the reference range; serum total bilirubin: ·1.5 times the upper limit of the reference range), and renal (serum creatinine:·1.5 times the upper limit of the reference range) function. Patients were required to be available for hospitalization until day 22 of the study, to have no carry-over e V ect from prior therapy and to not have received treatment with blood transfusions, blood products or blood cell factors such as granulocyte colony stimulating factor during 2weeks prior to enrollment. All patients gave their written informed con-sent prior to study entry.Patients were excluded if they had: symptomatic brain metastasis, a previous history of cancerous meningitis, poorly controlled epileptic seizures or clinically signi W cant mental or central nervous system disorders or if they had previously received monoclonal antibody therapy (includ-ing cetuximab). They were also ineligible if they had seri-ous cardiac or cardiovascular disease, diabetes mellitus, hypertension, active infection or symptomatic blood coag-ulation disorder, acute pulmonary disorder, interstitial pneumonia, or pulmonary W brosis; active, double cancers;a previous history of malignant tumors (other than non-melanoma skin cancer, uterine cervical carcinoma or gastrointestinal intramucosal carcinoma) with a sign of recurrence within the last 5years; a large volume of pleu-ral e V usion or ascites or were positive for hepatitis B virus, hepatitis C virus or human immunode W ciency virus. Patients were also excluded if they required chronic treatment with systemic steroids; were pregnant or lactating; if they wished to have a child; or if they had an alcohol or drugaddiction or a previous history of drug allergy or anaphy-lactic symptoms.Study designThis study was a two-center, phase I dose-escalation study of cetuximab in patients with advanced solid cancer. As this was the W rst such investigation in Japanese patients, a low dose level of 100mg/m 2 as an initial dose and 100mg/m 2 as a repeated weekly dose was selected to begin the study. All patients received 50mg oral diphenhydramine hydrochloride (H1-antagonist) 30–60min before each cetuximab infusion as a preventive measure in relation to infusion-related reactions. At W rst infusion, patients received 100 (dose level 1), 250 (dose level 2), 400 (dose level 3 or 5) or 500 (dose level 4) mg/m 2 of cetuximab as a 2-h intravenous infusion. Subsequent weekly 1-h infusions of 100 (dose level 1) or 250 (dose level 2–5) mg/m 2 of cetuximab began according to the schedule in Fig.1 and continued to day 50, which was considered to be su Y cient to assess cetuximab PK. For dose levels 1–4, patients had a 2-week interval between W rst and second infusion for the purposes of evaluation of single-dose PK. Patients in dose level 5 received cetuximab according to the standard 400/250mg/m 2 schedule, with a 1-week interval between W rst and second infusions, curtailing the collection of single-dose PK at 7days in this group.Six patients were assigned to each dose level 1–4, with the W rst cohort receiving cetuximab at the lowest dose level.If DLT was observed in ¸2 patients during the DLT evalu-ation period of 6weeks from the W rst administration until 1week after the W fth administration, no further patients were to be enrolled and this dose level was de W ned as the MTD. Otherwise, the dose was escalated to the next dose level (1–2, 2–3 or 3–4). If the MTD was not established at dose level 4, six patients received the standard 400/250mg/m 2 regimen at dose level 5. DLT was de W ned as either:grade 4 or three incidences of grade 3 skin toxicity events,or the omission of three consecutive infusions due to grade 3 skin toxicity; adverse drug reactions ¸grade 3 (except forskin toxicity, electrolyte abnormality, anorexia, nausea, and alkaline phosphatase) or the development of acute pulmo-nary disease, interstitial pneumonia and other pulmonary symptoms. Infusion-related reactions were not regarded as DLTs as they were considered to be largely dose-indepen-dent. If progressive disease (PD) was not observed between the initial dose and W fth administration (or sixth administra-tion for dose level 5), the study medication was to be con-tinued as long as the patient gave consent, again after an observation period of 1week. During the study period, the following drugs and therapies were not permitted; thera-peutic modalities for malignant tumor, other antibody ther-apy, chemotherapy, hormonal therapy, immunological therapy, radiotherapy, hyperthermia and surgical therapy,and systemic steroids. The drugs and therapies used for symptomatic relief of concurrent diseases or complications were permitted before and during the study with minimal modi W cation of dosage and mode of administration.Study evaluationsResponse was assessed in evaluable patients by the investi-gators according to RECIST guidelines [13] and had to be con W rmed by a repeated consecutive assessment conducted a minimum of 28days after the W rst assessment. Adverse events (AEs) were graded according to the National Cancer Institute—Common Toxicity Criteria version 2 (Japan Clinical Oncology Group—translation version). Safety variables assessed included; AEs, abnormal laboratory val-ues and vital signs (blood pressure, heart rate, respiratory rate, body temperature, 12-lead electrocardiogram, chest X-ray).Pharmacokinetic analysisBlood samples (5mL) were drawn prior to the W rst cetux-imab infusion and at 1, 1:58, 2:30, 3, 4, 6, 8, 24, 48, 96,168, 264 and 336h (not 264 and 336h for dose level 5)after the initiation of infusion. Subsequent samples were taken before cetuximab infusions on days 15 (dose level 5Fig.1Dosage and schedule of on-study cetuximab administrationonly), 22, 29, 36, 43 and 50 and during the post-treatment observation period or at the time of withdrawal from the study. Cetuximab serum concentration data were generated using a validated sandwich enzyme-linked immunosorbent assay (ELISA) carried out by MDS PS Pharma Services Switzerland AG (Fehraltorf, Switzerland) essentially as described [14].ResultsPatients and demographicsEGFR expression was detected immunohistochemically in the tumor tissue of 43 of 47 screened patients (91%). Of these 43 patients, 30 ful W lled all the inclusion criteria and were enrolled in the study; all received at least one dose of the study drug. Summarized for all patients in Table 1, the demographic characteristics of the individual treatment groups were generally similar. There were no major di V er-ences between the dose levels with regard to medical his-tory other than cancer. Twenty-nine patients were su V ering from adenocarcinoma of the colon or rectum and the remaining patient had adenocarcinoma of the lung. The majority of patients had metastatic disease at study entry,and 8 (27%), 10 (33%) and 9 (30%) patients had 1, 2 and 3organs involved, respectively. Most commonly involved organs were the lung in 22, liver in 20 and the lymph nodes in 15 patients. All patients had received previous chemo-therapy or hormonal therapy; 29 had undergone surgery, 6had received radiotherapy, and three had received other treatments. Similar percentages of patients received con-comitant medication across dose levels, except for a higher incidence of the use of antihypertensive medications at dose levels 4 and 5.Dose-limiting toxicity assessmentThe safety population comprised all 30 patients, each of whom had received at least one dose of the study medica-tion. Four patients did not complete the DLT evaluation period after withdrawing from treatment as a consequence of PD after one (one patient) or three infusions (three patients). DLT analyses were therefore performed on 26evaluable patients (5 patients each at dose levels 2–5 and 6 patients at dose level 1). The median duration of treat-ment was 14.0weeks and the median cumulative cetux-imab dose was 2,450mg/m 2. No DLT was reported during the evaluation period and consequently, the MTD was not reached even at the highest dose level. Eighteen patients continued treatment with cetuximab after com-pletion of the preset weekly repeated treatment schedule (on day 50).Adverse eventsAEs and cetuximab-related AEs were reported in 30(100%) and 29 (97%) patients, respectively. The most com-mon AEs according to system organ class (SOC) distribu-tion were skin and subcutaneous tissue disorders and investigations (both reported for 28/30, 93% of patients)followed by gastrointestinal disorders and general disorders and administration site conditions (both 26/28 patients,87%).The most common cetuximab-related AEs observed (summarized in Table 2) were acneiform dermatitis (83%),rash and skin reaction (both 47%), dry skin (40%), pruritus (33%), paronychia (37%), pyrexia (57%), diarrhea (33%)and fatigue and stomatitis (both 30%). Hypersensitivity reaction (HSR) was reported in only one patient at dose level 1. This patient experienced HSR twice: a grade 1 HSR on the day of the W rst cetuximab infusion and a grade 2HSR on the second day after administration at week 6. Both reactions resolved. Pyrexia and headache appeared to more common at the higher dose levels and were mainly reported in a close temporal relationship with cetuximab infusion,suggesting that they may have been infusion-related events.Grade 3 or 4 AEs were reported in nine patients after DLT evaluation and in two cases, were considered to beTable 1Patients characteristics ECOG PS Eastern Cooperative Oncology Group performance status,NSCLC non-small cell lung cancerCharacteristic N =30Gender, N (%)Male 15 (50.0)Female 15 (50.0)Age (years)Median (min–max)54 (36–73)ECOG PS, N (%)020 (67.7)19 (30.0)21 (3.3)Diagnosis, N (%)Colorectal cancer 29 (96.7)NSCLC1 (3.3)Prior therapy, N (%)Chemotherapy 30 (100)5-Fluorouracil 27S-17UFT 7Irinotecan 28Oxaliplatin 1Radiotherapy6 (20)cetuximab-related (grade 3 diarrhea, one patient at doselevel 1; grade 3 acneiform dermatitis, pruritus and rash, one patient at dose level 4).Although cetuximab-related AEs did not lead to discon-tinuation of cetuximab in any patient, the primary reason for discontinuation in two patients was an aggravation of disease symptoms. The weekly dose for one patient (dose level 4) was reduced from 250 to 200mg/m 2 at the 38th week of administration due to grade 3 skin toxicity in accordance with the study protocol. There were no other dose reductions. One patient died within 30days of the end of study treatment from an unrelated respiratory failure due to progressive lung metastases.PharmacokineticsA full PK pro W le suitable for PK analysis following initial cetuximab infusion was available from all patients. Individ-ual PK parameters after non-compartmental and compart-mental analysis were in good agreement. In general, inter-patient variability in the cetuximab concentration values was not large. Cetuximab serum concentration time pro W les are displayed in Fig.2. Mean trough concentrations for dose level 5 were constant from week 4 (day 22) onwards (Fig.3).PK parameters, based on non-compartment analysis and data obtained at 2weeks later (day 15) in dose level 1–4and at a week later (day 8) in dose level 5, are shown in Table 3. Dose-proportional increases in mean C max (range 49.0–396.7 g/mL) were observed across the dose range of 100–500mg/m². Moderate deviations from dose propor-tional increases were observed for AUC 0–1 (range 3,469–3,4817 g/mL h), especially at the low doses. However, in general, maximum serum concentrations following infusion and the exposure to cetuximab as measured by AUC 0¡1are predictable for each dose used. Mean CL values decreased with dose at the lower dose levels. At doses of ¸400mg/m 2, CL values appeared to level o V . Mean termi-nal half-life (t 1/2) values increased from 54 to 111h over the 100–500mg/m 2 dose range. At the dose of 400mg/m 2(equivalent to the standard regimen), the mean t 1/2 values were 101 (dose level 3) and 106h (dose level 5). Values for the volume of distribution at steady state (V ss ) were inde-pendent of dose and consistent with distribution of cetux-imab in the theoretical vascular space.Pre- and post-dose samples for the determination of HACA levels were available for 21 patients. The analytical results suggested that there had been no induction of such antibodies in these patients.E Y cacySix patients were excluded from the e Y cacy analysis,three because follow-up evaluation was not available (allTable 2Relevant common any grade and grade 3/4 cetuximab-related adverse events aDose; initial dose/weekly doseAdverse eventNumber of patients with any grade (grade 3/4)Any gradetotal (%)Grade 3/4 total (%)Dose level 12345Dose a (mg/m 2)100/100N =6250/250N =6400/250N =6500/250N =6400/250N =6N =30Any adverse event 5 (1)66 6 (1)696.7 6.7Acneiform dermatitis 564 5 (1)583.3 3.3Rash3252 (1)246.7 3.3Skin reaction 3332346.7Dry skin1214440.0Pruritus 213 3 (1)133.3 3.3Paronychia 34436.7Pyrexia 245656.7Diarrhea 2 (1)122333.3 3.3Fatigue 1142130.0Stomatitis 311430.0Anorexia 24226.7Nausea 123123.3Vomiting132123.3colorectal cancer), and three because the disease at baseline was not measurable (two colorectal cancer and one lung adenocarcinoma). Twenty-four patients were thereforeevaluable for e Y cacy. Two patients treated at dose level 1showed partial response, giving an overall response rate of 8.3% in the e Y cacy-evaluable population [95% con W dence interval (CI): 1.0, 27.0]. Furthermore, 12 patients achieved stable disease (3, 3, 1, 3 and 2 patients at dose levels 1–5,respectively) to give an overall disease control rate of 58.3% (95% CI: 36.6, 77.9).DiscussionCetuximab has been shown to be e V ective and generally well tolerated in mixed but mainly Caucasian patient groups and the PK pro W le of this agent administered as a single dose of 20–500mg/m 2 has been extensively charac-terized in a variety of separate studies in such populations [15]. Two recent studies have examined cetuximab single-dose PK in US patients with solid tumors using a similarTable 3Mean (standard deviation) pharmacokinetic parameters at day 15 (non-compartment analysis)CV coeY cient of variation, C max maximum concentration, AUC 0–1 area under the concentration-time curve, t 1/2 terminal half-life, CL total body clearance, V ss volume of distribution at steady state aDose level 5: pharmacokinetic parameters are based on concentration data measured up to timepoint 168h (day 8) following the initial 400mg/m 2 doseDose level (dose mg/m 2)1 (100) N =62 (250) N =63 (400) N =64 (500) N =65 (400)a N =6C max ( g/mL)49.0 (8.5)157.0 (31.9)287.2 (37.9)396.7 (83.6)297.8 (30.5)% CV1720132110AUC 0–1 ( g/mL £h)3,469 (583)12,132 (2,300)25,823 (6,525)34,817 (11,498)29,213 (6,431)% CV 1719253322t 1/2 (h)54 (17)74 (12)101 (31)111 (19)106 (24)CL (L/h)0.046 (0.007)0.035 (0.009)0.026 (0.009)0.026 (0.013)0.022 (0.005)V ss (L)3.46 (0.59)3.98 (0.78)3.34 (0.48)3.51 (0.56)3.1 (0.5)dose-escalation protocol to that employed in the current study [11, 12]. Patients in both of these studies received either: 50, 100, 250, 400 or 500mg/m2 initial infusions, fol-lowed after a 3-week interval by weekly infusions of 250mg/m2. The similarity in schedules and type of patient included in these analyses allows a comparative evaluation of cetuximab PK and safety in the non-Japanese and Japa-nese patient groups. Mean C max values were comparable for initial cetuximab dose levels of 100 and 250mg/m² in the two populations. However, at the higher doses of 400 and 500mg/m2, C max values were higher in the Japanese (287 and 397 g/mL) compared with the non-Japanese popula-tions 205/229 and 243/246 g/mL, respectively). Likewise, mean AUC0–1 values were comparable at the lower doses but higher in the Japanese compared with the non-Japanese patient groups at the 500mg/m2 dose level (34,817 vs. 30,870 and 24,740 g/mL h).However, the results of the current study con W rm that the PK pro W le in Japanese patients is broadly similar to that obtained for non-Japanese patient groups. In particular, lin-ear relationships for both mean C max and AUC0–1 with dose that were previously noted in the non-Japanese popu-lations were also observed in the Japanese population, indi-cating that the exposure to cetuximab is predictable across the dose-range. Dose-dependent relationships were observed in the current study for t1/2 and CL at lower doses, with the apparent leveling of CL seen at the higher doses mirroring the earlier studies in non-Japanese patients and supportive of receptor saturation at these doses. In addition, V ss was independent of dose and consistent with a distribu-tion of cetuximab in the theoretical vascular space, which is similarly consistent with the data from non-Japanese popu-lations. The cetuximab mean trough concentrations follow-ing repeated weekly doses of 250mg/m2 (dose level 5) in the Japanese population were constant from fourth week (day 29) onwards and were in good agreement with previ-ously reported pharmacologically active trough concentra-tion values following the standard dosing regimen (equal to dose level 5) of cetuximab [16].In relation to safety, cetuximab was generally well toler-ated at all dose levels in Japanese patients and the MTD was not reached at the highest dose-level tested (500mg/m2 initial infusion followed by 250mg/m2 weekly). No spe-ci W c toxicities were identi W ed in Japanese patients com-pared with mainly Caucasian groups, and the incidence of cetuximab-related grade 3/4 AEs was low (2/30 patients) and as expected. The most common AEs at any grade according to SOC distribution were skin and subcutaneous tissue disorders, which were reported for 93% of patients. Acneiform dermatitis, which was noted in 83% of patients, was the most commonly occurring cetuximab-related AE. Although skin reactions are a class e V ect of EGFR-targeted agents, the level of incidence of this mainly mild adverse drug reaction in this study is in the upper range of what has been commonly reported for mixed but mainly Caucasian populations. A considerable number of studies in a range of cancer types including mCRC have noted a correlation between the incidence and severity of acne-like rash or skin reactions and e Y cacy [5, 8, 16–19]. The high level of skin toxicity noted in Japanese patients may therefore be a promising indicator for cetuximab e Y cacy in this popula-tion, a hypothesis that should be addressed in future clinical studies. The disease control rate of 58% achieved for cetux-imab monotherapy in Japanese patients is encouraging in this context. On balance, the safety pro W le for all dose regi-mens in the current study was essentially consistent with the safety pro W le of cetuximab as described in the previous comparable studies in non-Japanese patient populations [11, 12].In conclusion, the current study has demonstrated that cetuximab PK and safety pro W les are similar between Japa-nese and non-Japanese patient populations. Given this assessment, it would appear that the standard dose of an ini-tial 2-h infusion of 400mg/m2 followed thereafter by weekly 1-h infusions of 250mg/m2 is feasible for future clinical studies in Japanese patients.References1.Goldstein NI, Prewett M, Zuklys K, Rockwell P, Mendelsohn J(1995) Biological e Y cacy of a chimeric antibody to the epidermal growth factor receptor in a human tumor xenograft model. Clin Cancer Res 1:1311–13182.Li S, Schmitz KR, Je V rey PD, Wiltzius JJ, Kussie P, Ferguson KM(2005) Structural basis for inhibition of the epidermal growth fac-tor receptor by cetuximab. Cancer Cell 7:301–3113.Kang X, Patel D, Ng S, Melchior M, Ludwig D, Hicklin D (2007)High a Y nity Fc receptor binding and potent induction of antibody-dependent cellular cytotoxicity (ADCC) in vitro by anti-epidermal growth factor receptor antibody cetuximab. J Clin Oncol 25:(Abstr 3041)4.Kurai J, Chikumi H, Hashimoto K, Yamaguchi K, Yamasaki A,Sako T, Touge H, Makino H, Takata M, Miyata M, Nakamoto M, Burioka N, Shimizu E (2007) Antibody-dependent cellular cyto-toxicity mediated by cetuximab against lung cancer cell lines. Clin Cancer Res 13:1552–15615.Cunningham D, Humblet Y, Siena S, Khayat D, Bleiberg H,Santoro A, Bets D, Mueser M, Harstrick A, Verslype C, Chau I, Van Cutsem E (2004) Cetuximab monotherapy and cetuximab plus irinotecan in irinotecan-refractory metastatic colorectal cancer. N Engl J Med 351:337–3456.Jonker DJ, Karapetis CS, Moore M, Zalcberg JR, Tu D, Berry S,Koski S, Krahn M, Simes J, Tebbutt N, Van Hazel G, O’Callaghan CJ (2007) Randomized phase III trial of cetuximab monotherapy plus best supportive care [BSC] versus BSC alone in patients with pretreated metastatic epidermal growth factor receptor [EGFR]-positive colorectal carcinoma. A trial of the National Cancer Institute of Canada Clinical Trials Group (NCIC CTG) and the Australasian Gastro-Intestinal Trials Group (AGITG). 98th AACR Annual Meeting, 14–18 April 2007, Los Angeles, USA (Abstr LB-1). Updated information presented at meeting。

一篇不错的 Dancing Links 介绍文章 [

3 EXACT COVER PROBLEM 5 然而，这个方法很明显是非常低效的，做标记是快速的。但是相应的带来的问题，是查找的时候会变得非常慢。复杂度始终是 O(n)(n 为矩阵大小)。在 step (1) (2) (3) (4) (5) 中我们都用到了查找操作，所以我们不能忽视查找的复杂度。在这个实现方式中，把查找的效率提升多少，整个程序便可提升多少。
决方法只有搜索! 且看如下搜索代码：
3 EXACT COVER PROBLEM 4
if (A is empty) { \\A is the 0-1 matrix.
the problem is solved;
return ;
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choose a column, c,
that is unremoved and has fewest elements.;
remove(C[j]); } if (dfs(k + 1)) { 4 SUDOKU TO EXACT COVER PROBLEM 8
3 EXACT COVER PROBLEM 7
} } } void resume(const int &c) { for (int i = U[c]; i != c; i = U[i]) {
for (int j = L[i]; j != i; j = L[j]) { ++S[C[j]]; U[D[j]] = j; D[U[j]] = j;
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舞蹈韵律生活调的英语作文

Dancing is a universal language that transcends cultural and linguistic barriers, bringing people together in a harmonious celebration of movement and rhythm.It is an art form that has been practiced for centuries,evolving with time and culture,yet remaining a constant source of joy and expression for those who partake in it.The rhythm of life is often likened to a dance,with its ups and downs,its moments of stillness and bursts of activity.Just as a dancer moves to the beat of music,we navigate the ebb and flow of our daily lives,finding our own rhythm and balance.The art of dance can teach us valuable lessons about life,resilience,and the power of selfexpression.In the realm of dance,there are countless styles,each with its own unique characteristics and cultural significance.From the graceful movements of ballet to the energetic steps of hiphop,from the traditional folk dances of various countries to the contemporary styles of modern dance,the diversity of dance is a testament to the creativity and adaptability of the human spirit.Ballet,with its roots in the Italian Renaissance courts of the15th century,has evolved into a highly technical and disciplined form of dance.It requires immense physical strength,flexibility,and control,as well as a deep understanding of musicality and artistic expression.Ballet dancers often spend years perfecting their craft,embodying the discipline and dedication that can be applied to any aspect of life.Hiphop,on the other hand,emerged from the urban streets of New York City in the 1970s,reflecting the cultural and social experiences of its practitioners.It is a vibrant and dynamic form of dance that emphasizes improvisation,individuality,and the power of collective expression.Through hiphop,dancers can communicate their personal stories and experiences,fostering a sense of community and shared identity.Folk dances,which are deeply rooted in the traditions and histories of their respective cultures,offer a window into the lives and values of the people who practice them.These dances often involve intricate patterns and formations,requiring a high level of coordination and teamwork.By participating in folk dances,individuals can connect with their cultural heritage and gain a deeper appreciation for the richness of human diversity.Modern dance,a form that emerged in the early20th century as a reaction against the rigidity of classical ballet,emphasizes the exploration of personal expression and the use of unconventional movements.Modern dancers often experiment with different techniques and styles,pushing the boundaries of what is considered dance.This spirit of innovation and creativity can inspire us to approach our own lives with an open mind and a willingness to embrace change.In addition to the aesthetic and cultural aspects of dance,it also offers numerous physical and mental health benefits.Dancing regularly can improve cardiovascular health, increase flexibility and strength,and promote overall wellbeing.Moreover,the act of dancing can be a powerful stress reliever,allowing individuals to express their emotions and connect with their inner selves.In conclusion,the dance of life is a beautiful and complex interplay of movement,rhythm, and emotion.By embracing the art of dance,we can learn to move with grace and confidence through the various stages of our lives,finding joy and fulfillment in the process.Whether it be through the discipline of ballet,the energy of hiphop,the traditions of folk dances,or the creativity of modern dance,the lessons and experiences gained from dancing can enrich our lives and help us to find our own unique rhythm in the world.。

中外节日对比——清明节与复活节

Easter
A
Tombsweeping
day
B
1
Brief 工in作tr概od况uction
Easter is one of the oldest and most meaningful Christian festival. It celebrates the resurrection of Jesus Christ. Christians around the world celebrate every year. Easter is a symbol of rebirth and hope.
Tomb-sweeping day is one of the lunar 24 solar terms in the air with spring, which is 108 days after the winter solstice.
The Qingming Festival i s one of the 24 seasonal division points in China, falling on April 46 each year. After the fes tival, the temperature wi ll rise up and rainfall inc reases.
It is the high time for spri ng plowing and sowing. But the Qingming Festiva l is not only a seasonal po int to guide farm work, it is more a festival of com memoration.
Nowadays, Easter eggs are in order to bring happiness to people. These beautiful and decorative eggs represent the people's good wishes and share the joy of the season change.

美国太阳女神雕塑英语作文

美国太阳女神雕塑英语作文Title: The Statue of Liberty: Symbol of Freedom and Hope。

The Statue of Liberty, often referred to as the "Sun Goddess" by some, stands proudly on Liberty Island in New York Harbor. It is not merely a colossal sculpture but a symbol deeply ingrained in the fabric of American identity and values. In this essay, we delve into the significance of this iconic monument, exploring its history, symbolism, and enduring impact.First and foremost, the Statue of Liberty serves as a beacon of freedom and democracy. It was a gift from the people of France to the United States, dedicated on October 28, 1886, to commemorate the centennial of the signing of the Declaration of Independence. Designed by Frenchsculptor Frédéric Auguste Bartholdi, the statue depicts a robed female figure representing Libertas, the Roman goddess of freedom, holding a torch aloft in her right handand a tablet inscribed with the date of the Declaration of Independence in her left.The significance of the statue extends beyond its physical attributes. It symbolizes the ideals upon which the United States was founded: liberty, democracy, and opportunity. For millions of immigrants arriving in America in the late 19th and early 20th centuries, the Statue of Liberty was their first glimpse of the land of freedom and opportunity. It welcomed them with open arms, embodying the promise of a better life and the hope of realizing the American Dream.Moreover, the Statue of Liberty has served as a powerful symbol of solidarity and resilience in times of adversity. During World War II, its image was used extensively in propaganda to rally support for the war effort and bolster morale on the home front. The sight of Lady Liberty standing tall amidst the chaos and uncertainty of war served as a reminder of the enduring values that Americans were fighting to defend.In addition to its symbolic significance, the Statue of Liberty holds immense cultural and historical value. It has been featured in countless works of literature, art, and popular culture, cementing its status as a global icon. Its image graces postage stamps, coins, and souvenirs, serving as a ubiquitous symbol of American identity and values.Furthermore, the Statue of Liberty has become a symbol of hope and inspiration for people around the world. Its message of freedom and democracy transcends national boundaries, resonating with individuals striving forliberty and justice in their own countries. From Tiananmen Square to Tahrir Square, the image of Lady Liberty has been invoked by activists and protestors advocating forpolitical reform and human rights.In conclusion, the Statue of Liberty stands as a testament to the enduring values of freedom, democracy, and hope. As a symbol of American identity and values, it continues to inspire people around the world to strive for a better future. In the words of Emma Lazarus, inscribed on a plaque at the statue's base, "Give me your tired, yourpoor, your huddled masses yearning to breathe free." Truly, the Statue of Liberty remains a shining beacon of hope for all humanity.。

跨文共舞和谐曲的英语作文

Dancing Across Cultures in HarmonyIn an increasingly globalized world,the opportunity to engage with different cultures has never been more accessible.The beauty of cultural exchange lies in the ability to learn, appreciate,and celebrate the diversity that exists among us.This essay will explore the concept of dancing across cultures,a metaphor for harmonious interaction and mutual understanding.Firstly,the importance of cultural awareness cannot be overstated.Being aware of the customs,traditions,and social norms of different societies is the first step towards respectful engagement.This awareness allows individuals to navigate social situations with sensitivity and adaptability,fostering a positive environment for crosscultural communication.Secondly,language plays a crucial role in cultural exchange.Learning a new language opens doors to understanding the intricacies of a culture,from its literature and poetry to its everyday expressions and idioms.It is through language that we can truly immerse ourselves in the spirit of a culture and connect with its people on a deeper level.Moreover,the arts are a universal language that transcends borders and speaks to the human experience.Music,dance,and visual arts are powerful tools for cultural expression and can serve as a bridge between different cultures.For instance,a traditional dance from one culture can be adapted and performed alongside a dance from another, creating a unique fusion that celebrates both heritages.Education is another key aspect of crosscultural cational institutions can play a significant role in promoting cultural understanding by incorporating diverse perspectives and histories into their curricula.This not only enriches the learning experience but also prepares students to be global citizens who can contribute to a more inclusive society.Furthermore,technology has revolutionized the way we connect with different cultures. Social media platforms,online forums,and virtual reality experiences allow us to explore and engage with cultures from the comfort of our homes.This accessibility has the potential to break down barriers and promote a greater sense of global community. However,it is important to approach crosscultural interactions with humility and an open mind.Recognizing and respecting differences is essential to avoid cultural appropriation and ensure that cultural exchange is a mutually beneficial process.In conclusion,dancing across cultures in harmony is a beautiful and enriching experience that can lead to personal growth and a deeper understanding of the world.By embracing cultural diversity,we can create a more harmonious global society where everyone can contribute their unique perspectives and talents.。

我最喜欢的苗族的唱歌跳舞英语作文

Title: My Fascination with the Singing and Dancing of the Miao Ethnic Group Among the vast tapestry of China's rich cultural heritage, the Miao people, with their vibrant traditions and customs, hold a special place in my heart. What truly captivates me about this ethnic group is their inimitable talent for singing and dancing, which not only embodies their deep-rooted cultural identity but also resonates with a timeless beauty and vitality.The singing of the Miao people is an intricate and emotionally charged art form. It weaves stories of love, mythology, history, and daily life into intricate melodies that resonate across mountains and valleys. From the soft, melodic songs of courtship to the exhilarating choruses celebrating harvests and festivals, every note carries a unique story and emotion. Listening to a Miao singer is like stepping into a world where words and music intertwine seamlessly, transporting the listener to a realm of pure emotion and understanding.But it's not just the singing that captivates; the dancing of the Miao people is equally entrancing. Their dances are a vivid expression of their spiritual beliefs, social structure, and aesthetic sensibilities. From the graceful lundou dances, where dancers wearing elaborate costumes sway in unison to the rhythm of drums and flutes, to the energetic tianzhen dances, showcasing acrobatic feats and agility, each dance is a living testament to the creativity and athleticism of the Miao people.One of the most remarkable aspects of Miao dancing is its connection to nature. Many dances mimic the movements of animals, plants, and even celestial bodies, reflecting the deep harmony the Miao people seek with their surroundings. These performances often take place during major festivals or special occasions, such as the Lunar New Year celebrations, where entire villages come together to showcase their artistic talents and reinforce community bonds.As an outsider admiring from afar, I find the singing and dancing of the Miao people incredibly inspiring. It's a reminder of the profound role art plays in preserving cultural heritage and fostering a sense of belonging. Each song and dance is a precious treasure, passed down from generation to generation, keeping alive the memories, wisdom, and aspirations of a unique cultural group.Moreover, the enthusiasm and joy exuded by the Miao performers are contagious. Their music and dance are not just performances; they are expressions of pure happiness and contentment, inviting everyone present to share in their celebration of life. In a world increasingly dominated by technology and digital connectivity, the Miao people's devotion to their traditional arts serves as a powerful reminder of the enduring value of human connection and creativity.In conclusion, my fascination with the singing and dancing of the Miao ethnic group stems from a profound admiration for their artistic talents, cultural resilience, and unwavering commitment to preserving their traditions. Through their music and dance, the Miao people offer a window into a world rich in history, spirituality, andboundless creativity, inspiring all who witness it to cherish and celebrate the diversity of human culture.。

我最喜欢皇后乐队英语作文

我最喜欢皇后乐队英语作文1I have always been a passionate music lover, and among all the bands that have touched my soul, Queen stands out as a true legend. The first time I heard Queen's songs was like a magical moment that transported me to a different world. I was casually flipping through the radio channels when suddenly, the powerful and soulful voice of Freddie Mercury filled the room. It was the song "Bohemian Rhapsody," and I was immediately captivated by its complex melody and profound lyrics.Since then, I have delved deeper into Queen's discography, and each song has been a revelation. The energy and passion in their music are infectious. I remember attending one of their concerts, and it was an experience that will forever be etched in my memory. The stage was illuminated with dazzling lights, and the band members gave their all. The crowd sang along to every note, and the atmosphere was electric.The unique combination of Freddie Mercury's extraordinary vocal range, Brian May's masterful guitar solos, Roger Taylor's powerful drumming, and John Deacon's solid bass lines creates a musical force that is simply unparalleled. Their songs are not just a collection of notes and words; they are a journey through emotions, from joy and excitement to melancholy and reflection.Queen's music has the power to unite people of all ages and backgrounds. It has been a constant companion during my ups and downs, inspiring me to keep going and embrace life with all its challenges and joys.I believe that their music will continue to resonate through the ages, touching the hearts of future generations just as it has touched mine.2I have always been a passionate music lover, and among the countless bands that have graced the world of music, Queen holds a special place in my heart. Their music is not just a collection of sounds but a journey through emotions and experiences.One of their most remarkable works is "Bohemian Rhapsody". The musical structure of this song is truly unique. It starts with a gentle and melancholic piano intro, gradually evolving into a powerful and complex combination of various musical elements. The lyrics are profound, touching upon themes of life, love, and the search for meaning. It's like a musical masterpiece that takes the listener on an emotional roller coaster.Another gem is "We Will Rock You". This song has an undeniable power to ignite the passion within the audience. The simplicity of the rhythm and the repetitive beats make it incredibly infectious. It's a song that unites people, making them stomp their feet and clap their hands in unison. It's not just a song; it's a call to action, a source of motivation that fills one with energy and determination.Queen's music has the ability to transcend time and generations. Their songs continue to inspire and move people of all ages. The combination of Freddie Mercury's powerful vocals, Brian May's masterful guitar work, and the seamless collaboration of the entire band creates a musical experience that is truly unforgettable. I believe that their music will always remain a part of the musical landscape, continuing to touch the hearts of music lovers around the world.3Queen is one of the most legendary bands in the history of music, and I have an intense admiration for them. Freddie Mercury, the lead singer of Queen, had an extraordinary life. His passion for music was unwavering. He was not afraid to break boundaries and explore new musical territories. His unique voice and stage presence made him an icon.The story of Freddie Mercury is one of perseverance and dedication. Despite facing numerous challenges and obstacles, he remained committed to his art. His music was not just a form of entertainment but a source of inspiration for millions around the world.The members of Queen had an amazing chemistry and synergy. They understood each other's musical talents and complemented each other perfectly. Their teamwork was the key to the success of the band. They worked together to create masterpieces that have stood the test of time.The music of Queen has had a profound impact on my life. It has thepower to lift my spirits when I'm down and fill me with energy. Their songs are a testament to the power of music to unite people and touch hearts.In conclusion, Queen is not just a band; they are a symbol of musical excellence and a source of endless inspiration. I will always hold them in the highest regard and cherish their music.4Queen is one of the most outstanding bands in the history of music. When comparing Queen to other bands of their era, their uniqueness becomes strikingly evident. The musical styles of many bands during that time often adhered to certain conventions and trends. However, Queen fearlessly explored a wide range of genres and incorporated various elements into their compositions.Unlike some bands that focused mainly on a single style, Queen seamlessly merged rock, pop, opera, and even elements of classical music. Their songs such as "Bohemian Rhapsody" showcased this eclectic approach, with its complex structure and diverse musical sections. This song alone demonstrated their willingness to push boundaries and create something truly unconventional.Furthermore, Queen's influence on subsequent music is immeasurable. Their bold experimentation and creative spirit inspired countless musicians to think outside the box. Many modern bands have drawn inspiration from Queen's ability to blend different musical styles and create a unique sonicexperience.In conclusion, Queen stands out not only for their musical prowess during their time but also for the lasting impact they have had on the world of music. Their music continues to resonate with audiences of all ages, a testament to their enduring genius and innovation.5Queen, one of the most legendary bands in the history of music, has always held a special place in my heart. Their music is not just a collection of sounds but a manifestation of artistic innovation and emotional depth.The band's ability to fuse diverse musical elements is truly remarkable. They seamlessly blend rock, pop, and classical influences, creating a unique sonic landscape that defies categorization. Take, for instance, their masterpiece "Bohemian Rhapsody". This song combines elements of opera, hard rock, and ballad, showcasing their audacious creativity and willingness to break boundaries.Queen's contribution to the music industry is immeasurable. They revolutionized the way we perceive and experience music. Their performances were not just about playing the notes; they were about creating an immersive experience for the audience. Freddie Mercury's charismatic stage presence and powerful vocals, coupled with the band's tight musicianship, made their concerts unforgettable spectacles.The lyrics of Queen's songs often carry profound meanings and socialcommentary. They address themes of love, freedom, and the human condition with honesty and poignancy. Songs like "We Are the Champions" have become anthems of empowerment and unity, inspiring generations to overcome challenges and strive for greatness.In conclusion, my love for Queen is not only for their musical genius but also for the passion and soul they pour into their art. They have left an indelible mark on the world of music, and their influence will continue to resonate for years to come.。

施特劳斯的英文作文

施特劳斯的英文作文英文：Strauss is a famous composer and conductor who has left a huge impact on the world of classical music. His works are still widely performed and loved today, and his influence can be seen in many contemporary composers.One of the reasons I admire Strauss is his ability to create music that is both technically complex and emotionally powerful. His use of harmony and orchestration is masterful, and he is able to create a range of moods and atmospheres in his music. For example, in his tone poem "Also sprach Zarathustra," he uses a large orchestra to create a sense of grandeur and power, while in "Der Rosenkavalier," he uses a smaller ensemble to create a more intimate and delicate sound.Another aspect of Strauss that I appreciate is his willingness to experiment and push the boundaries oftraditional classical music. He was not afraid to incorporate elements of popular music and other genres into his compositions, which gave his music a unique and innovative quality. For example, in his opera "Salome," he uses dissonant harmonies and unconventional vocal techniques to create a sense of tension and unease, which was unheard of in the opera world at the time.中文：施特劳斯是一位著名的作曲家和指挥家，他在古典音乐界留下了巨大的影响。

听音乐享受生活英语作文

Music has always been an integral part of my life, a constant companion that has seen me through the highs and lows, the joy and the sorrow. Its more than just a form of entertainment its a way of life, a language that speaks to the soul. The rhythm, the melody, the lyrics each element intertwines to create a symphony that resonates within me, shaping my emotions and experiences.Growing up, my parents had a vast collection of vinyl records, a treasure trove of musical history that spanned genres and decades. From the soulful tunes of the 60s to the rock anthems of the 70s, and the pop hits of the 80s, our home was a melting pot of musical influences. Saturdays were dedicated to exploring these records, each spin revealing a new favorite song or an artist that would become a lifelong obsession.One of my earliest memories is dancing to the Beatles Hey Jude in our living room, my parents laughing as I tried to mimic the moves I saw on the old music videos. It was a moment of pure joy, a snapshot of a time when music was simply about having fun and connecting with the people around you.As I grew older, my relationship with music evolved. It became a source of comfort during difficult times. When I faced challenges at school or struggled with friendships, I would retreat to my room, headphones on, and let the music wash over me. The lyrics of John Mayers Gravity or the haunting melodies of Radioheads Creep provided solace, a reminder that I wasnt alone in my feelings.Music also became a means of selfexpression. I learned to play the guitar, and the process of learning new songs and eventually writing my own was incredibly rewarding. Theres something magical about creating a melody or a set of lyrics that captures a moment or an emotion. Its like giving voice to the inexpressible, finding a way to communicate whats deep inside.In high school, I joined the school band, an experience that further deepened my appreciation for music. We practiced after school, our instruments blending together to create a harmonious sound that filled the room. There was a sense of camaraderie among us, a shared passion that bonded us together. Our performances at school events were exhilarating, the applause from the audience a validation of our hard work and dedication.Now, as a university student, music continues to be a significant part of my life. Whether its studying for exams with the soothing sounds of classical music in the background or attending concerts with friends, music remains a constant presence. Its a way to unwind, to connect with others, and to find inspiration.Moreover, music has taught me valuable life lessons. Its shown me the power of collaboration, the importance of perseverance, and the beauty of creativity. Its a reminder that theres always something new to discover, whether its a new genre, a new artist, or a new way of interpreting a familiar song.In conclusion, music is more than just a hobby or a pastime. Its a way of life that has enriched my experiences, provided comfort in times of need, and offered a means of selfexpression. Its a universal language that speaks to the heart, a testament to the power of art to connect, inspire, and transform. As I continue on my journey, I look forward to the new musical experiences that await, confident in the knowledge that music will always be a part of who I am.。

英语作文君住舞曲

英语作文君住舞曲下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。

文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!I love dancing. It's my favorite way to express myself and let loose. When I step onto the dance floor, I feellike I can conquer the world. The music takes over my body, and I become one with the rhythm. It's a feeling like no other.The beat drops, and I start moving my body to the music. My feet tap the floor, creating a melody of their own. Ilet my arms flow freely, like a bird soaring through the sky. Every movement is intentional, yet spontaneous. It's a dance of freedom and self-expression.As the music changes, so does my dance. I adapt to the new rhythm, letting it guide me. Sometimes it's fast and energetic, and I find myself jumping and twirling acrossthe floor. Other times, it's slow and sensual, and I swaymy hips in a seductive motion. Each dance is unique, reflecting the emotions and vibes of the music.Dancing is not just about the moves; it's about the connection. When I dance, I connect with the music, withthe people around me, and most importantly, with myself.It's a moment of pure bliss, where I forget abouteverything else and just let go. It's a form of meditation, a way to find inner peace and happiness.The dance floor is my sanctuary, a place where I can be myself without any judgment. It's a space where I can letmy emotions run wild and express myself freely. Whether I'm happy, sad, or angry, dancing allows me to release those emotions in a healthy and cathartic way. It's a form of therapy, a way to heal and find solace.Dancing is not just a hobby; it's a way of life. It's a constant source of joy and inspiration. It pushes me to challenge myself, to learn new moves, and to exploredifferent styles. It's a never-ending journey of growth and self-discovery.So, whenever I hear a dance tune, my heart skips a beat, and my feet start itching to move. I can't resist the callof the music, the call to dance. It's a passion that will always be a part of me, a flame that will never burn out.In the end, dancing is more than just a series of steps; it's a language. It speaks to the soul and connects people from all walks of life. It's a universal form of communication that transcends barriers and brings people together. So let's dance, let's celebrate life, and let the music guide us.。

[纯音乐]天籁钢琴（情迷维纳斯）

[纯音乐]天籁钢琴（情迷维纳斯）Cheryl Gunn 尼古拉斯·坎恩：《Vanity of Venus》（情迷维纳斯）专辑简介尼古拉斯·坎恩夫妻档联合携手演出钢琴的温暖质感、合成器的动态华丽彷佛置身梦幻与浪漫交织的神秘殿堂新世纪长笛之神尼古拉斯·坎恩之妻——雪莉·坎恩一发行首张个人专辑，随即荣获亚马逊网站爱乐人五颗星的最高评价来自南加州地区的她，先后学过钢琴、合成器和录音间制作脚踏实地的性格让她初尝甜蜜的音乐果实，甫出专辑就大放异彩。

身为一个才华洋溢音乐家的妻子亦不遑多让这张专辑的制作全由雪莉·坎恩本人一手包办音乐的结构性完整，丰富且质地细腻她企图要勾起听者的浪漫情怀，合成器铺陈的氛围教人心醉神迷，彷佛灵魂离开了躯体，随意念无所不至另一个不能忽略的焦点当然是尼古拉斯·坎恩斯文精致的长笛吹奏，搭配雪莉弹奏的钢琴听得出尼古拉斯对于妻子音乐作品的用心程度，更增添了几许爱情浓度。

专辑中雪莉探索的是爱与恋，那撩人而又肉欲的神秘面加上丰美而华丽的质感与制作手法让她在钢琴和合成器上的天份得以全然发挥，为全片铺上精彩的背景在其上则添进尼古拉斯·坎恩的长笛和札维尔的空心吉他专辑中从气势开阔的《Valhalla》到静谧的《Vanity of Venus》等曲都紧紧扣住聆听者的心弦。

曲目列表：痴迷红碧玉永久之恋变幻的海潮维纳斯的梦幻美好希望悠然年华月光消逝极乐世界曲目下载==============================痴迷红碧玉永久之恋变幻的海潮维纳斯的梦幻美好希望悠然年华月光消逝极乐世界==============================。

参加晚会的英语作文

Last weekend,I had the pleasure of attending a grand evening party.It was an event that I will remember for a long time due to its elegance and the delightful atmosphere.The invitation to the party was a formal one,and it specified a dress code of black tie.I chose to wear a classic black evening gown paired with a pair of high heels and a matching clutch.My outfit was completed with a string of pearls and a delicate pair of earrings.Upon arrival,I was greeted by the host and hostess who were both impeccably dressed and exuded warmth.The venue was beautifully decorated with a theme of sophistication and luxury.The lighting was soft and ambient,creating a cozy yet elegant ambiance. There were tables adorned with fine china,crystal glasses,and silver cutlery,all set against a backdrop of a live orchestra playing soft classical music.The evening began with a cocktail hour where guests mingled and enjoyed a variety of delicious canapés and cocktails.The conversation flowed easily as we discussed various topics ranging from art and literature to current events.Following the cocktail hour,we were ushered into the main hall for dinner.The menu for the evening was exquisite,featuring a selection of gourmet dishes.We started with a creamy lobster bisque,followed by a tender filet mignon with a red wine reduction sauce, and finished off with a decadent chocolate souffléfor dessert.Throughout the evening,there were several entertainment segments.A talented magician performed closeup magic tricks that left us all in awe,and a professional dancer showcased a breathtaking ballet performance that was both graceful and powerful.As the night progressed,the dance floor opened,and guests took to the floor,dancing to the tunes of a live band.The energy was infectious,and it was a joy to see everyone enjoying themselves.The evening concluded with a heartfelt speech by the host,expressing gratitude to all the guests for their presence and making the evening a memorable one.As I left the party,I felt a sense of satisfaction,having enjoyed a night of elegance,good company,and unforgettable experiences.In conclusion,attending the evening party was a delightful experience that showcased the beauty of social gatherings.It was a night filled with laughter,good food,and great company,and it will forever hold a special place in my memories.。