不死羽【声音字幕同步PPT】
爱衣声博11【声音字幕同步PPT】
爱衣声博11 2013/05/31 大家好，我是茅野爱衣
正好工作刚结束 今天是名叫C3部的作品的录音
7月放送，少女打枪类的动画 录音现场非常地欢乐 真相让家也快点看到
我饰演的卡莉拉这个角色 是第一次自称“俺”的角色
女汉子的类型从来没演过，觉得很新鲜 能尝试新类型的角色
对我来说是很重要的作品 这次，初次共演的西岐莉麻酱
撒，差不多该出发了，下一个工作地点 那么今天就这样吧
byebye
非常可爱的小女孩
大家务必去搜索下 好像是abeblo 还是应该是ameblo（√）
反正就是有开自己的博客 经常在录音前一起去吃饭
那时候拍的照
可能莉麻酱会上传博客 请各位搜一下
非常，非常懂事的孩子 前些天，二十岁
啊，不是前几天，是快要到
是6月9号出生所以应该是马上就要到二十岁了 大家也请发送点祝贺的留言
湖南郴印企业管理有限公司_企业报告(供应商版)
（1）公安系统（28）
序号
项目名称
招标单位
中标金额（万元） 公告时间
1
郴州市公安局苏仙分局关于其它印 刷制品的网上超市采购项目成交公 告
湖南省矿产资源调查所关于其它印 刷制品的网上超市采购项目成交公 告2 郴州市北湖区郴江街道办事处关于 装修设计服务的网上超市采购项目 成交公告 1 郴州市公安局苏仙分局关于其它印 刷制品的网上超市采购项目成交公 告 郴州市北湖区郴江街道办事处关于 装修设计服务的网上超市采购项目 成交公告
湖南省矿产资源调查 所
*项目金额排序，最多展示前 10 记录。
本报告于 2023 年 02 月 16 日 生成
3 / 14
1.4 地区分布
近 1 年湖南郴印企业管理有限公司中标项目主要分布于湖南等省份，项目数量分布为 65 个，占比企 业近 1 年项目总数的 100%。从中标金额来看，湖南的中标总金额较高，表现出较高的地区集中度。
1.1 总体指标 ..........................................................................................................................1 1.2 业绩趋势 ..........................................................................................................................1 1.3 项目规模 ..........................................................................................................................2 1.4 地区分布 ..........................................................................................................................4 1.5 行业分布 ...........................................................................................................................5 二、竞争能力 .................................................................................................................................7 2.1 中标率分析 ......................................................................................................................7 三、竞争对手 .................................................................................................................................8 3.1 主要竞争对手....................................................................................................................8 3.2 重点竞争项目....................................................................................................................8 四、服务客户 .................................................................................................................................9 4.1 关联客户中标情况 ............................................................................................................9 4.2 主要客户投标项目............................................................................................................9 五、信用风险 ...............................................................................................................................10 附录 .............................................................................................................................................10
PPT中滚动字幕的制作及与音乐同步的技巧2011
PPT中滚动字幕的制作及与音乐同步的技巧一般在电影、电视剧的结尾，都是伴随着美妙的音乐声，滚动显示着导演、编剧、演职员名单等。
其实在PowerPoint中也可以实现这样的效果，为我们的幻灯片添加一点别样的韵味，同时也是对一次成功演示的背后支持者的感谢。
Stepl首先准备好一段WAX格式的音乐，可以从网上下载，也可以自己录制，与PowerPoint演示文件保存在同一文件夹内。
可以在Media Player之类的播放器中查看并记下音乐的时间长度，这里我选择的音乐为32秒。
★如果只是想截取某首曲子中的一段作为配乐，除了可以使用CoolEdit之类的专业音频处理软件来完成外，还可以借用平时我们经常使用的播放器软件来完成：1. 在KMPlayer中打开MP3音乐文件播放，再按Alt+A键调出“音频截取”窗口，在“输出”框中设置好截取音乐的保存路径，然后当播放到想要的音乐开始处，单击“开始”，到想要的音乐结束处，单击“停止”就可以了。
2. 因为PowerPoint只支持WAV格式，所以还要转换一下。
在千千静听中打开上面截取的MP3文件，右击，选择“转换格式”，将“输出格式”设置为“ Wave文件输出”，再设置好文件保存的目标文件夹，最后单击“立即转换”就可以了。
★在KMPlayer中，当播放音乐时，按Alt+J键可以快速调出“文件信息”窗口，其中PlayTime项显示的就是当前音乐的时间长度。
在Windows Media Player 中，执行“文件一属性”命令，也可以看到当前音乐的时间长度。
Step2在PowerPoint演示的最后一张幻灯片上，创建一个文本框并输入相应的文字，这里我输入的是一份感谢的名单列表。
如图1所示，将文本框拖放到幻灯片的下方。
在标准工具栏上点击“显示比例”下拉按钮，选择25%或33%，这样可以完整显示出幻灯片和文本框。
然后执行“幻灯片放映—自定义动画” 菜单命令，在右侧打开自定义动画窗格。
爱衣声博21【声音字幕同步PPT】
感觉这个夏天全都是《那朵花》的内容 杂志之类的也是
最近有很多电影类杂志的取材 也请偶尔翻翻电影杂志吧
《那朵花》是，大家努力实ห้องสมุดไป่ตู้梦想的，六人的故 事
超平和busters的现场采访之类，也希望大家能 看到
那么，今天到此为止
byebye
剧场版 这个，如果听过评论副音轨的各位应该知道
我在４话的特别…… 《那朵花》special OA 和早见沙织酱，户松遥酱三人一起参加的副音轨
当时也是没能好好说出“剧场版”说成了“剧场 班”
就觉得这样可不行，嘛，现在也没能说出来
打算在正式公映前，好好地说出“剧场版” 做到100%能说出来
所以在8月31日，好像之前跑题有点严重 敬请期待
爱衣声博21
爱衣声博21 2013/08/09 大家好，我是茅野爱衣 现在刚看完《玉响》洗漱完毕，正准备去睡觉
对现在是晚上
（≥0≤）～～～明天的工作 录音的准备也全部结束了
晚安，我要睡个饱觉 最近0点之前就开始觉得困，真是让人困扰啊
总觉得偶尔稍微熬个夜也不错
但我还是很快就会犯困 那个，马上就快要到了 ８月３１日《那朵花》的剧场班
羽毛主题教育课件动态PPT模板
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01
2018
羽毛教育课件 动态PPT模板
Loem ipsum dolor sameman tanam casectetur adipiscing elit
tamam dalam qoue sampe.
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ONE
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课外古诗词诵读(七下后)【实用课件】PPT文档共38页
1余生活要有意义，不要越轨。——华盛顿 17、一个人即使已登上顶峰，也仍要自强不息。——罗素·贝克 18、最大的挑战和突破在于用人，而用人最大的突破在于信任人。——马云 19、自己活着，就是为了使别人过得更美好。——雷锋 20、要掌握书，莫被书掌握；要为生而读，莫为读而生。——布尔沃
END
课外古诗词诵读(七下后)【实 用课件】
11、战争满足了，或曾经满足过人的 好斗的 本能， 但它同 时还满 足了人 对掠夺 ，破坏 以及残 酷的纪 律和专 制力的 欲望。 ——查·埃利奥 特 12、不应把纪律仅仅看成教育的手段 。纪律 是教育 过程的 结果， 首先是 学生集 体表现 在一切 生活领 域—— 生产、 日常生 活、学 校、文 化等领 域中努 力的结 果。— —马卡 连柯(名 言网)
中国石化SAP-HR系统应用培训——薪酬管理PPT文档32页
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中石化SAP-HR系统应用培训—— 薪酬管理
11、用道德的示范来造就一个人，显然比用法律来约束他更有价值。—— 希腊
12、法律是无私的，对谁都一视同仁。在每件事上，她都不徇私情。—— 托马斯
13、公正的法律限制不了好的自由，因为好人不会去做法律不允许的事 情。——弗劳德
14、法律是为了保护无辜而制定的。——爱略特 15、像房子一样，法律和法律都是相互依存的。——伯克
16、业余生活要有意义，不要越轨。——华盛顿 17、一个人即使已登上顶峰，也仍要自强不息。——罗素·贝克 18、最大的挑战和突破在于用人，而用人最大的突破在于信任人。——马云 19、自己活着，就是为了使别人过得更美好。——雷锋 20、要掌握书，莫被书掌握；要为生而读，莫为读而生。——布尔沃
第4章制定决策-管理者工作的本40页PPT
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26、要使整个人生都过得舒适、愉快，这是不可能的，因为人类必须具备一种能应付逆境的态度。——卢梭
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27、只有把抱怨环境的心情，化为上进的力量，才是成功的保证。——罗曼·罗兰
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28、知之者不如好之者，好之者不如乐之者。——孔子 Nhomakorabea▪
29、勇猛、大胆和坚定的决心能够抵得上武器的精良。——达·芬奇
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30、意志是一个强壮的盲人，倚靠在明眼的跛子肩上。——叔本华
谢谢！
40
第4章制定决策-管理者工作的本
16、自己选择的路、跪着也要把它走 完。 17、一般情况下)不想三年以后的事， 只想现 在的事 。现在 有成就 ，以后 才能更 辉煌。
18、敢于向黑暗宣战的人，心里必须 充满光 明。 19、学习的关键--重复。
20、懦弱的人只会裹足不前，莽撞的 人只能 引为烧 身，只 有真正 勇敢的 人才能 所向披 靡。
高中数学一元二次不等式恒成立问题优秀课件
例1.函数f (x) mx 2 mx 1, 且f (x) 0对一切实数都成立，求 m取值范围
变式训练1.函数f (x) log2 (mx 2 8mx 21)定义域为 R，求实数 m的取值范围
例2.已知函数 f (x) x2 2x 1, f (x) x k在区间[3,1]上恒成立，求 k取值范围
变式训练 2.不等式x2 ax 1 0对于x [1,2]恒成立，求 a的取值范围。
二、一元二次不等式 ax2 bx c 0 在区间[m,n]上 恒成立 法一：参变分离（一般已知范围的作主元变量，待求范围的作参数） 法二：构造函数，研究函数的最值
例3.已知函数 f (x) x2 2x 1, f (x) x k在区间[3,1]上恒成立，求 k取值范围 ax2 bx c(a 0) R上 单调性与最值
二、二次函数 y ax2 bx c(a 0) 区间[m,n]上 单调性与最小值
二、二次函数 y ax2 bx c(a 0) 区间[m,n]上 单调性与最大值
二、一元二次不等式 ax2 bx c 0 R上 恒成立
变式训练3.不等式x2 ax 1 0对于x [-1, 1]恒成立，求a的取值范围。 2
例3. f (x) x2 mx 1, 对任意的 x [m, m 1], 都有f (x) 0.则m取值范围是
作业.不等式mx 2 mx 1 5 m对x [1,3]都成立，求 m取值范围
射象
Orwell is showing us the effects of imperialism. When a powerful nation exploits the people of another country, the resulting tension causes everyone to become somewhat savage. The narrator is a British police officer, and even though he sympathicizes with the plight of the Burmese, he despises their contempt for him, as a representative of the British empire.the colonizers are not truly in control. They are often forced to do things that they do not think are a good idea or even things that they do not think are morally right. They have to do these things simply to maintain their image and their ability to seem to be in control.So the point is that Instead, you have to act so as to keep your control over your subjects.That those who are in control are often controlled is clearly a point to George Orwell's "On Shooting an Elephant." Because of the British rule and control over the Burmese, the Burmese themselves placed certain expectations upon their rulers. Here is the irony of power, an irony that Orwell feels intensely as he feels it contingent upon himself to destroy the magnificent animal. It is equally ironic that the animal Orwell must shoot as he does the "dirty work of Empire" is an elephant, so often symbolic of power.And as the poor beast dies slowly and in great agony with the "mysterious, terrible change" coming over him, the elephant also becomes symbolic of the of slow death of Britain's great empire.Some of the obvious symbols which are present in this essay by Orwell are:1. The elephant itself: It is compared to, "a huge and costly piece of machinery." It is symbolic of how the economy of a poor Burmese village functioned under colonial British rule:It is a serious matter to shoot a working elephant –it is comparable to destroying a huge and costly piece of machinery –and obviously one ought not to do it if it can possibly be avoided.2. Orwell himself: Throughout the essay Orwell is a living symbol of all that was bad of the colonial British rule, and he himself is aware of it:The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.3. The rifle:The rifle is symbolic of the brute force which was at the disposal of the colonial British rulers. In this village in Burma only the British owned and possessed the guns. It was this which enabled them to appear as demi-gods to the natives and rule over them. Orwell symbolically narrates how cruelly he used it to kill a helpless animal not to protect the villagers from harm but only to emphasize his superior status over them:when the white man turns tyrant it is his own freedom that he destroys.He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the "natives," and so in every crisis he has got to do what the "natives" expect of him. He wearsa mask, and his face grows to fit it. I had got to shoot the elephant.I had committed myself to doing it when I sent for the rifle. A sahibhas got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing – no, that was impossible. The crowd would laugh at me. And my whole life, every white man's life in the East, was one long struggle not to be laughed at.Members of a ruling imperialistic class feel compelled to behave so as not to lose face or power over the populace, even if that means doing something against their better judgment.Orwell shoots the elephant because the two thousand native people standing behind him expect him to. They want vengeance for the man it killed, the meat the carcass will provide, and the entertainment of watching the shooting. “The people expected it of me and I had got to do it” he writes. There is an implication that if he decided not to shoot the elephant, both he and the empire would suffer a loss of prestige, but the main concern in Orwell’s mind is the “long struggle not to be laughed at”. He is even afraid to “test” the animal’s mood by going closer for fear it might attack and kill him before he could shoot, thus giving the crowd a sight it would enjoy as much as the slaughter of the beast.Orwell's widely anthologized non-fiction essay "Shooting an Elephant" has an implied thesis: “Imperialistic rulers must behave so as not to lose face or power over the populace, even if it means doing something against their better judgment.”Despotic governments result from the need to maintain power over subtly resistant people. Such a government can rule only by fulfilling the people’s expectations and responding to every crisis with the expected force. Orwell points to the irony that he stood armed in front of an unarmed crowd, yet he was powerless to do as he wished or as his judgment told him. Instead, he felt himself “an absurd puppet pushed to and fro by the will of those yellow faces behind”Orwell says that he did not intend to shoot the elephant. He only got the gun so that he could protect himself if need be. When he actually saw the elephant, he became convinced that there was no point in shooting it. But then, he found the main reason why he had to shoot it. Here's how he puts it:The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly.He says he had to shoot it because that's what the natives expected him to do and he had to uphold the image of the white colonizers. He had to appear decisive and resolute or else the natives won't respect the colonizers anymore.I would argue that it is not freedom that Orwell and England are giving up. Instead, I'd say it is their conscience/integrity and their moral authority.In the story, Orwell does not want to shoot the elephant -- his conscience tells him he shouldn't. But he is forced to do so anyway because the crowd expects it of him. At that point, he loses his integrity and goes against his conscience.Similarly, Britan sacrifices its principles of democracy and fair play when it colonizes other peoples, forcing them to submit to British ruleAs a police officer serving in Burma during the time of its occupation, not only did he symbolise British rule but he became its agent.The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man's dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd - seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys.Orwell, as the representative of British power, has come to embody the myth of the all-powerful Empire and now is trapped in this role. Colonialism therefore is shown as something that is wrong both in its impact on the "colonised" but equally wrong in its impact on the "colonisers," who are reduced into becoming little more than "hollow, posing dummies" whose whole existence and goal in life is "not to be laughed at."If he does not (in this case) shoot the elephant, he weakens this image. He must act to maintain the image, no matter what his personal conscience tells him to do.What an imperial government must do to sustain its power is to control the thinking of the repressed people. It must do this by acting in ways that keep them convinced of its power.From his introduction, George Orwell seems to have ambivalent feelings about the Burmese. On the one hand, he states that he is theoretically and secretly "all for the Burmese and all against their oppressors, the British and he feels an "intolerable sense of guilt" for the "wretched prisoners." On the other hand, he writes that he feels rage toward the "evil-spirited little beasts who tried to make his job impossible:With one part of my mind I though of the British Raj as an unbreakable tyranny, as something clamped down...upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts.It is ironic that Orwell is exploited by those who are themselves exploited by the British. Because of the conduct expected of a British official, Orwell cannot allow the elephant to live, as he knows that he should.And, so Orwell shoots the elephant "solely to avoid looking like a fool."If so, I would say that it is showing us that imperialism takes away the dignity and the free will of the people who are running the colony.Even so, he is forced to do so (to go against his ideals and his best judgement)When a country takes over another country, it must act in ways that are meant to maintain control of that other country. It must do this even if those actions go against its usual values. Imperialism, therefore, traps the imperial power. It forces that power to act in ways it does not really want to act, all in order for it to maintain its powerGeorge Orwell's essay, "On Shooting an Elephant," illuminates the paradox of imperialsim. For, as he writes,When the white man turns tyrant, it is his own freedom that he destroys.an elephant caused havoc and is no longer in proximity of the area. Orwell realizes that he is not thinkingparticularly of my own skin, only of the watchful yellow faces behind...The sole thought in my mind was that if anything went wrong those two thousand Burmans would see me pursued, caught, trampled on, and reduced to a grinning corpse like that Indian up thehill....That would never do.With all the Burmese watching him, Orwell feels that as a representative of the colonial government, he must act as such and kill the elephant; that is, in his role as imperialist, he has forfeited his own freedom and must act tyrannically.As the Burmese watch him, Orwelleven grows to disdain them for their presence which forces him to the action of killing the elephant. After he does shoot the elephant, Orwell wonders whether any of the others "grasped that I had done it solely to avoid looking a fool."comprehend the sense of victimization he felt despite his position as an “authority.”Despotic governments result from the need to maintain power over subtly resistant people; such a government can rule only by fulfilling the people’s expectations and responding to every crisis with the expected force. Orwell points to the irony that he stood armed in front of an unarmed crowd, yet he was powerless to do as he wished or as his judgment tol d him. Instead, he felt himself “an absurd puppet pushed to and fro by the will of those yellow faces behind”《射象》是奥威尔的一篇优秀散文，叙述了作者1926年在英属殖民地缅甸当殖民警察时一次射象的经历。
英文诗的结构、格律,韵体
英诗浩瀚，篇幅长短不一，长至成集，短至仅句。
为使英语学习者了解英诗，特拟此文，从实用角度阐述英诗的欣赏：诗的格律、诗的押韵、诗的体式、诗的评判。
诗以高度凝结的语言表达着人们的喜怒哀乐，用其特有的节奏与方式影响着人们的精神世界。
诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。
（有关修辞手法可参考相关书籍）。
一、诗的格律“格律是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。
而音步是由重读音节和非重读音节构成的诗的分析单位。
重读音节为扬（重），在音节上用“－”或“ˊ”标示，非重读音节为抑（轻），在音节上用“）”标示，音步之间可用“／”隔开。
以下是五种常见格式：1．抑扬格（轻重格）Iambus：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。
As fair / art thou / my bon/nie lass,So deep / in luve / am I :And I / will luve / thee still,/ my dear,Till a` / the seas / gang dry:Robert Burns(1759-1796): My Luve Is like a Red, Red Rose注；art=are luve=love bonnie=beautiful a`=all gang=go上例中为四音步与三音步交叉，可标示为：）－／）－／）－／（）－）2．扬抑格（重轻格）Trochee：每个音步由一个重读音节加一个非重读音节构成。
下例中为四音步扬抑格（少一个轻音节），可标示为：－）／－）／－）／－Tyger!/ Tyger!/ burning / brightIn the / forests / of the / nightWilliam Blake: The Tyger3．抑抑扬格（轻轻重格）Anapaestic foot: 每个音步由两个非重读音节加一个重读音节构成。
音乐人生 观后感
另类的他，另类的音乐————观《音乐人生KJ》有感影片一开始，一个和蔼的爸爸，唤醒一个长着兔牙的小男孩。
几秒钟之后，我得知，小男孩受邀前往捷克演奏。
小孩长大后，很正经地对着摄影机说，“我想做一个human being。
”他就是影片《音乐人生KJ》中的天才黄家正。
17岁的黄家正给我第一印象是狂妄、自负、难相处的。
当镜头切换到他指挥着校乐团时排练时，那种对学弟学妹甚至同龄人的呵斥，尤其是那句“罗老师教了我12年，今天让她来看我指挥，你们竟然让我失望、让她失望”，着实没有办法让我对这个孩子产生好感。
认为毕竟是年少，所以轻狂。
随着影片的推进，家正思维方式的独特性越来越被体现出来。
虽然教她琴的卢老师一向都不接他电话，哥哥、妹妹、同学、学弟学妹在排练的时候无一不被他呵斥，被直接了当地指出缺点，而他们过后又甘愿放下尊严来配合他，因为“与他合作真的可以学到很多东西”。
所以他敢在校际比赛不理规定，玩一首会超时2分钟的曲子，而让队友心甘情愿冒着扣分的危险来配合他。
因为“音乐不是拿来比赛的，音乐是生命，用心演奏出来的那一刻，才是音乐真正意义所在”。
所以全校都在乎的比赛，他一点都不在乎，因为“冠军已经拿过几次，不需要再证明”。
所以即使最后赢了，队友和校友们在场外欢呼“音乐王国，舍我其谁”庆祝，他也只是默默在一旁敲打着手指，更宁愿去留意夜空中飞过的飞机。
然后，就好喜欢，好喜欢，这个有点别扭，极度自信的男孩。
也许他的想法难以被接受，但是这样的社会，很难找出这样一个人，敢于将内心的想法这样坦荡荡的说出来，毫不修饰的表达对这个世界的不满。
11岁的KJ，练习的间隙和父亲坐在沙发上，说，反正人都是要死的，不如死了算了。
父亲说，你不会想自杀吧。
他说，不会，我还想多活一阵子。
父亲说，只是一阵子吗？他便不再做声。
半响，父亲也许感到这孩子想太多，摸着他的头说，看来我以后得多些和你聊聊天。
KJ的眼泪马上决堤，一个11岁小男孩所承受的压力，也许自己还不懂用语言表达。
《河x》解说词(文本版)
河 殇（解说词）第一集：寻梦一九八七年六月十三日，吸引成千上万中国人的黄河漂流探险传来凶讯。
洛 阳和北京两支黄漂队都在落加峡下峡翻船遇难。
曾经漂过长江虎跳峡的两位勇士 郎宝珞，雷建生也被黄河激流吞没。
国内一时议论纷纷。
据报导，这些青年漂流者是因为决不让美国人肯沃伦拿走中国江河的首漂权 才铤而走险的。
肯沃伦对此十分不解。
他说，你们中国人如果到美国出漂流密西 西比河，是不会遭到反对的。
当然，沃伦先生永远无法把眼下的漂流，同一倌昵 拔鞣列强的炮舰在中国江河里横行的历史联系起来。
可中国的青年忘不了。
当这些漂流者抛尸黄河的时候，我们是称道他们有爱国精神呢？还是批评他 们的盲目民族感情？无论怎样，他们把这件事偏偏做在我们民族的母亲河上，悲壮和悲剧都是巨 大的。
事情不仅仅表现在江河漂流上。
你看在这些体育竞技场上，中国人是多么狂 热呵。
当五星红旗升起的时候，大夥都跳，都哭。
如果输了呢？大夥就骂，就砸，就闹事。
一个在心理上再也输不起的民族。
中国女排的姑娘们已经是五联冠了。
压在她们肩上的是民族和历史的沉重责 任。
假如下一次她们输了呢？当然，也有不少人不再为这些事烦恼。
他们匆匆离开祖国，要到外面的世界 去看个究竟。
同时，那些散落在外面的游子们，又纷纷回到祖国来看个究竟。
这 两股双向逆反的风潮又说明了什么呢？是近百年来总是被动挨打的历史造成了我们今天的心态吗？或者说，是近几 十年来的贫困落后造成的吗？或许是这样，但不完全是。
在这些现象背后隐藏著的，是一个民族的心灵在 痛苦。
它的全部痛苦就在于：文明衰落了。
本世纪初，有个叫陈天华的中国青年，面对当时正处于黑暗中的祖国，在日 本蹈海自杀。
那时，有几个中国人能够理解他呢？今天，我们回想起这个陈天华，仿佛可以推测他那深刻的绝望，也许正是对 文明衰落的一声微弱的叹息。
。
。
在当今的世界上，面对著西方工业文明的挑战和全球文化汇流的大趋势，每 一个拥有古老文明的民族，都面临著现实与传统的严重危机。
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JESUS 我的堕天使，你不听我说~ 重生后的灰埃 污没了回忆
咆哮的战和杀 喘息的步伐~ 祷告着对沉默的罚和错
颤抖时放开了你的手 封禁自己在这世界里 我的命运化成不灭翼 包围诞生日不止强烈欲 情 沉沦下~
JESUS 我的堕天使，请你听我说~ 腐坏中的苍白 刺入残骸
埋葬的碎羽翦 染血在烈火~ 再多一点温柔 却扼杀了我 埋葬的碎羽翦 染血在烈火~
JESUS 我的堕天使，请你听说~ 腐坏中的苍白 刺入残骸
埋葬的碎羽翦 染血在烈火~ 再多一点温柔 却扼杀了我~
寂寞的 残翼在眼中闪烁 不知道你会 疼痛的理由~
荧色磷火 冷雨中 曾经的拥抱已经消失
崩毁的 银枷锁 骨指尖摩挲刻出了我的少年 面容是 神耀光融 爱是孕育罪的涌动 和你于每个暗夜重逢~哦哦~
再多一点温柔 却扼杀了我~~哦~哦 多一点温柔 却扼杀了我~
不死羽
天神右翼 不死羽 原曲：YUI《LOVE & TRUTH -Instrumental- 》
填词：谦居 唱：羊皮为裘
月光中 眩晕的十字路 颠簸着 我们的灰马车
蔷薇败落 黑琴键 你弹奏平静的旋律中 隐藏斑驳的爱情
贪婪着每一个温暖的吻 胸口留下一抹艳丽瑰色 坠落后背离了虔诚之神 漩涡里挣扎不死~