Talitha Benjamin

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蔡晓清-华中科技大学战略管理

蔡晓清-华中科技大学战略管理

中文名:惠特妮·休斯顿 外文名:Whitney Houston 别名:Whitney Elizabeth Houston 国籍:美国 出生地:新泽西纽华克市出生日期:
1963年8月9日 逝世日期:2012年2月11日 职业:歌手、演员、电影制作人、模特
经纪公司:RCA唱片公司 代表作品:The Bodyguard,Whitney Houston , I Look to You
Economic
商业周期 GDP趋势 货币供应、利率 通货膨胀 失业与就业 可支配收入 原料、能源来源及成本 贸易周期 公司投资
Society
人口统计 收入分配 人口流动性 生活方式及价值观变化 对工作和消闲的态度 消费结构和水平 教育水平
Technology
政府对研究的支出 政府和行业的技术关注 新产品开发 技术转让速度 劳动生产率变化 优质品率与废品率 技术工艺发展水平
效率 高效率产业结构与竞争优势来自经营资源有利的产 业结构
进入障碍 垄断
购买者及供应者力量
专利权 品牌 报复能力
市场占有率
企业的规模 资金运用能力
竞争优势
低成本优势 差异化优势
工程技术 工厂规模 廉价投入要素
品牌 生产技术 市场及流通渠道 服务能力
1-31
二、价值链(Value Chain)分析
企业用来设计、生产、营销、供货以及对产品 起辅助作用的各种活动的集合
1-26
全球困局
公平与效率难以兼顾 经济发展与环境代价 失业与空缺长期并存
1-27
二、五种力量模型 ——案例赏析:统一润滑油
潜在进入者
潜在的资源分流



上游企业

用英语介绍爱因斯坦

用英语介绍爱因斯坦

Part 4
General Theory
4 of Relativity and Later Years
General Theory of Relativity and Later Years
In 1915, Einstein published his general theory of relativity, which explained gravitation as a consequence of the curvature of spacetime. The theory revolutionized our unde rstanding of gravity and marked a turning point in Einstein's career. The following year, he was awarded the Nobel Prize in Physics for his work on the photoelectric effect
答 辩 人 :XXX
Part 2
2
Studies and Work in Switzerland
and Germany
Studies and Work in Switzerland and Germany
In 1900, Einstein graduated from the University of Zurich with a teaching diploma in mathematics and physics. He began teaching mathematics and physics at a series of Swiss schools, including the Cantonal School i

[赏析]美国歌曲:老橡树上的黄丝带

[赏析]美国歌曲:老橡树上的黄丝带

美国歌曲:老橡树上的黄丝带美国歌曲:老橡树上的黄丝带---------------------------------------------------这首风格回异热情朴实、乡情村味的黄丝带多少年来一直行于广大青年之中。

作者汤尼·奥兰多(Tony Orland)创造了爱的奇迹。

黎明乐队于1973 年演唱了名曲《老橡树上的黄丝带》,到 1979年,这首歌已被灌片出版达1000次以上,并在世界各地广为流传。

这首歌曲的原形来自于一个在民间广为流传的爱情故事。

1971年在《New York Post》杂志上登载了这一故事。

美国一位新闻记者 Pete Hamill 把这个故事进行了整理创作。

故事的名字叫《回家》(《Going Home》)。

主人公叫文戈(Vingo)故事中作者描写的老橡树上系的是黄手帕(YellowHandkerchiefs)。

在故事开始之前,作者这样写到:“几年前,在纽约格林威治村,我碰到一个姑娘,从她那里第一次听到了这个故事,这故书很可能每隔几年就会重新出现,成为一个带有不少新说法被再次讲述一遍的神秘的民间传说。

然而,我仍然相信这个故书确实曾发生在某个地方某个时间。

”这个故事刊出不久,很快就出现了这首不朽的音乐作品。

这个爱情故事不仅被改编成音乐作品,而且还被改编成电影,由电影明星高仓健和千惠子主演的日本影片《幸福的黄手帕》也同样以这个故书为蓝本。

黄手帕也好,黄丝带也好,都是爱情的信物和象[赏析]为了更好地理解鉴赏这首名曲,在这里简述原作《回家》的内容。

从洛德代尔堡上车的几个年青人,在公共汽车驶到新泽西时,他们注意到了一个穿着一套不合身便装的人,坐在那里一动不动,看不出年龄,表情冷淡,沉默寡言,他就是文戈。

当公共汽车驶进华盛顿郊外的一家餐馆时。

文戈却生根似地仍坐在车上,年轻人觉得诧异,试图了解猜测他可能是远航商船的船长,抛妻离家的人或者是解甲归田的老兵。

一位女孩主动与他接触说他们要到美丽的佛罗里达州去度假。

Stabilization mechanisms of soil organic matter- Implications for C-saturation of soils

Stabilization mechanisms of soil organic matter- Implications for C-saturation of soils

Plant and Soil241:155–176,2002.©2002Kluwer Academic Publishers.Printed in the Netherlands.155 ReviewStabilization mechanisms of soil organic matter:Implications forC-saturation of soilsJ.Six1,R.T.Conant,E.A.Paul&K.PaustianNatural Resource Ecology Laboratory,Colorado State University,Fort Collins,CO80523,U.S.A.1Corresponding author∗Received3January2001.Accepted in revised form13February2002AbstractThe relationship between soil structure and the ability of soil to stabilize soil organic matter(SOM)is a key element in soil C dynamics that has either been overlooked or treated in a cursory fashion when developing SOM models. The purpose of this paper is to review current knowledge of SOM dynamics within the framework of a newly proposed soil C saturation concept.Initially,we distinguish SOM that is protected against decomposition by various mechanisms from that which is not protected from decomposition.Methods of quantification and characteristics of three SOM pools defined as protected are discussed.Soil organic matter can be:(1)physically stabilized,or protected from decomposition,through microaggregation,or(2)intimate association with silt and clay particles, and(3)can be biochemically stabilized through the formation of recalcitrant SOM compounds.In addition to behavior of each SOM pool,we discuss implications of changes in land management on processes by which SOM compounds undergo protection and release.The characteristics and responses to changes in land use or land management are described for the light fraction(LF)and particulate organic matter(POM).We defined the LF and POM not occluded within microaggregates(53–250µm sized aggregates as unprotected.Our conclusions are illustrated in a new conceptual SOM model that differs from most SOM models in that the model state variables are measurable SOM pools.We suggest that physicochemical characteristics inherent to soils define the maximum protective capacity of these pools,which limits increases in SOM(i.e.C sequestration)with increased organic residue inputs.IntroductionMost current models of SOM dynamics assumefirst-order kinetics for the decomposition of various con-ceptual pools of organic matter(McGill,1996;Paus-tian,1994),which means that equilibrium C stocks are linearly proportional to C inputs(Paustian et al., 1997).These models predict that soil C stocks can, in theory,be increased without limit,provided that C inputs increase without limit,i.e.there are no as-sumptions of soil C saturation.While these models have been largely successful in representing SOM dynamics under current conditions and management practices(e.g.Parton et al.,1987,1994;Paustian et ∗FAX No:+1-970-491-1965.E-mail:johan@ al.,1992;Powlson et al.,1996),usually for soils with low to moderate C levels(e.g.<5%),there is some question of their validity for projecting longer term SOM dynamics under scenarios of ever increasing C inputs(e.g.Donigian et al.,1997).Such scenarios are particularly relevant with the development of new technology designed to promote soil C sequestration through increasing plant C inputs.Native soil C levels reflect the balance of C inputs and C losses under native conditions(i.e.productivity, moisture and temperature regimes),but do not neces-sarily represent an upper limit in soil C stocks.Empir-ical evidence demonstrates that C levels in intensively managed agricultural and pastoral ecosystems can ex-ceed those under native conditions.Phosphorous fer-tilization of Australian pasture soils can increase soil C by150%or more relative to the native condition156(Barrow,1969;Ridley et al.,1990;Russell1960). Soil C levels under long-term grassland(‘near native’) vegetation have also been exceeded in high productiv-ity mid-western no-tillage(NT)systems(Ismail et al., 1994)as well as in sod plots with altered vegetation (Follett et al.,1997).Hence,native soil C levels may not be an appropriate measure of the ultimate C sink capacity of soils.There are several lines of evidence that suggest the existence of a C saturation level based on physiochem-ical processes that stabilize or protect organic com-pounds in soils.While many long-termfield experi-ments exhibit a proportional relationship between C inputs and soil C content across treatments(Larson et al.,1972;Paustian et al.,1997),some experiments in high C soils show little or no increase in soil C content with two to three fold increases in C inputs (Campbell et al.,1991;Paustian et al.,1997;Solberg et al.,1997).Various physical properties(e.g.silt plus clay content and microaggregation)of soil are thought to be involved in the protection of organic materials from decomposer organism.However,these proper-ties and their exerted protection seem to be limited by their characteristics(e.g.surface area),which is con-sistent with a saturation phenomenon(Hassink,1997; Kemper and Koch,1966).A number of soil organic matter models have been developed in the last30years.Most of these mod-els represent the heterogeneity of SOM by defining several pools,typically three tofive,which vary in their intrinsic decay rates and in the factors which control decomposition rates(see reviews by McGill, 1996;Parton,et al.,1994;Paustian,1994).Alternat-ive formulations,whereby specific decomposition rate varies as a function of a continuous SOM quality spec-trum(i.e.instead of discrete pools),have also been developed(e.g.Bosatta and Agren,1996).However, in either case,the representation of the model pools (or quality spectrum)is primarily conceptual in nature. While such models can be successfully validated us-ing measurements of total organic carbon and isotopic ratios of total C(e.g.Jenkinson and Rayner,1977), the individual pools are generally only loosely associ-ated with measurable quantities obtained with existing analytical methods.Consequently,it is not straight-forward to falsify or test the internal dynamics of C transfers between pools and changes in pool sizes of the current SOM models with conceptual pool defin-itions because a direct comparison to measured pool changes is not possible.A closer linkage between theoretical and measur-able pools of SOM can be made by explicitly defining model pools to coincide with measurable quantities or by devising more functional laboratory fractiona-tion procedures or both.The phrases‘modeling the measurable’and‘measuring the modelable’have been coined as representing the two approaches towards a closer reconciliation between theoretical and experi-mental work on SOM(Christensen,1996;Elliott et al.,1996).Various attempts have been made to correlate ana-lytical laboratory fractions with conceptual model pools,with limited success.Motavalli et al.(1994) compared laboratory measurements of C mineraliza-tion with simulations by the Century model(Parton et al.,1994)for several tropical soils.When the active and slow pools in the model were initialized using laboratory determinations of microbial+soluble C for the active pool and light fraction for the slow pool,C mineralization was consistently underestim-ated,although all fractions were highly significantly correlated to C mineralization in a regression ana-lysis.Magid et al.(1996)unsuccessfully attempted to trace14C labeled plant materials using three size-density fractionation methods to define an‘active’pool.Metherell(1992)found that the slow pool in Century was much larger than the particulate organic matter(POM)fraction isolated from a Haplustoll by Cambardella and Elliott(1992).However,Balesdent (1996)found that POM isolated after mild disrup-tion corresponds to the plant structural compartment (RPM)of the Rothamsted carbon model(Jenkinson and Rayner,1997).Acid hydrolysis has been used to estimate Century’s passive C pool(Paul et al.,1997a; Trumbore,1993),but it seems to slightly overestimate the size(Paul et al.,1997a;Trumbore,1993),though not the C turnover rate,of the passive pool(Trumbore, 1993).Nevertheless,Paul et al.(1999)used extended laboratory incubations in combination with acid hy-drolysis to define an active,slow and passive pool of C and were successful in modeling the evolution of CO2in thefield based on these pools.These studies suggest that attempting to measure the modelable has had minimal success to date.There have been a few recent attempts to more closely integrate models and measurements of physi-cochemically defined pools by‘modeling the measur-able’,although Elliott et al.(1996)and Christensen (1996)have presented conceptual models for this ap-proach.Arah(2000)proposed an approach based on analytically defined pools and measurements of13C157Figure1.The protective capacity of soil(which governs the silt-and clay protected C and microaggregate protected C pools),the biochemically stabilized C pool and the unprotected C pool define a maximum C content for soils.The pool size of each fraction is determined by their unique stabilizing mechanisms.and15N stable isotope tracers to derive parameters for a model with measurable pools.The approach con-siders all possible transformations between measured C and N pools and devises a system of equations using observed changes in total C and N and13C and15N for each fraction to solve all model unknowns.Necessary requirements of such an approach are that the analyt-ical fractions are distinct and together account for the total carbon inventory.The objective of this review paper is to summar-ize current knowledge on SOM dynamics and sta-bilization and to synthesize this information into a conceptual SOM model based on physicochemically defined SOM pools.This new model defines a soil C-saturation capacity,or a maximum soil C storage potential,determined by the physicochemical proper-ties of the soil.We propose that the conceptual model developed from this knowledge may form the basis for a simulation model with physicochemically measur-able SOM pools as state variables rather than with the biologically defined pools by Paul et al.(1999).Protected SOM:Stabilization mechanisms, characteristics,and dynamicsThree main mechanisms of SOM stabilization have been proposed:(1)chemical stabilization,(2)phys-ical protection and(3)biochemical stabilization (Christensen,1996;Stevenson,1994).Chemical sta-bilization of SOM is understood to be the result of the chemical or physicochemical binding between SOM and soil minerals(i.e.clay and silt particles).Indeed, many studies have reported a relationship between stabilization of organic C and N in soils and clay or silt plus clay content(Feller and Beare,1997; Hassink,1997;Ladd et al.,1985;Merckx et al., 1985;Sorensen,1972).In addition to the clay con-tent,clay type(i.e.2:1versus1:1versus allophanic clay minerals)influences the stabilization of organic C and N(Feller and Beare,1997;Ladd et al.1992; Sorensen,1972;Torn et al.,1997).Physical protection by aggregates is indicated by the positive influence of aggregation on the accumulation of SOM(e.g.Ed-wards and Bremner,1967;Elliott,1986;Jastrow, 1996;Tisdall and Oades,1982;Six et al.,2000a). Aggregates physically protect SOM by forming phys-ical barriers between microbes and enzymes and their substrates and controlling food web interactions and consequently microbial turnover(Elliott and Coleman, 1988).Biochemical stabilization is understood as the stabilization of SOM due to its own chemical com-position(e.g.recalcitrant compounds such as lignin and polyphenols)and through chemical complexing processes(e.g.condensation reactions)in soil.For our analyses,we divide the protected SOM pool into three pools according to the three stabilization mechanisms described(Figure1).The three SOM pools are the silt-and clay-protected SOM(silt and clay defined as <53µm organomineral complexes),microaggregate-protected SOM(microaggregates defined as53–250µm aggregates),and biochemically protected SOM. Chemical stabilization:Silt-and clay-protected SOM The protection of SOM by silt and clay particles is well established(Feller and Beare,1997;Hassink, 1997;Ladd et al.,1985;Sorensen,1972).Hassink (1997)examined the relationship between SOM frac-tions and soil texture and found a relationship between the silt-and clay-associated C and soil texture,though he did notfind any correlation between texture and amount of C in the sand-sized fraction(i.e.POM C).Based on thesefindings,he defined the capacity158Table1.Regression equations relating silt plus clay proportion to silt and clay associated CSize class a Ecosystem Intercept Slope r20–20µm Cultivated 4.38±0.68b0.26±0.010.41Grassland 2.21±1.940.42±0.080.44Forest−2.51±0.550.63±0.010.550–50µm Cultivated7.18±3.040.2±0.040.54Grassland16.33±4.690.32±0.070.35Forest16.24±6.010.24±0.080.35Size class Clay type Intercept Slope r20–20µm1:1 1.22±0.370.30±0.010.742:1 3.86±0.490.41±0.010.390–50µm1:1 5.5±5.930.26±0.130.382:114.76±2.370.21±0.030.07a Two size classes for silt and clay were reported in the literature.b Value±95%confidence interval.of soil to preserve C by its association with silt and clay particles.Studies investigating the retention of specific microbial products(i.e.amino sugars)cor-roborate the proposition of Hassink(1997)that C associated with primary organomineral complexes arechemically protected and the amount of protection in-creased with an increased silt plus clay proportion of the soil(Chantigny et al.,1997;Guggenberger et al., 1999;Puget et al.,1999;Sorensen,1972).Puget et al.(1999)reported an enrichment of microbial derived carbohydrates in the silt plus clay fraction compared to the sand fraction of no-tilled and conventional tilled soils.However,the amount stabilized by silt and clay differs among microbial products.For example,Gug-genberger et al.(1999)reported a higher increase of glucosamine than muramic acid under no-tillage at sites with a high silt plus clay content.A reexamin-ation of the data presented by Chantigny et al.(1997) leads to the observation that the glucosamine/muramic acid ratio was only higher in perennial systems com-pared to annual systems in a silty clay loam soil and not in a clay loam soil.The silty clay loam soil had a higher silt plus clay content.We expanded the analysis of Hassink(1997)of the physical protection capacity for C associated with primary organomineral complexes(Figure2)across ecosystems(i.e.forest,grassland,and cultivated sys-tems),clay types(i.e.1:1versus2:1),and size ranges for clay and silt(0–20µm and0–50µm;see Ap-Figure 2.The relationship between silt+clay content(%)and silt+clay associated C(g silt+clay C kg−1soil)for grassland,forest and cultivated ecosystems.A differentiation between1:1clay and 2:1clay dominated soils is also made.The relationships indicate a maximum of C associated with silt and clay(i.e.C saturation level for the clay and silt particles),which differs between forest and grassland ecosystems and between clay types.Two size boundaries for silt+clay were used(A)0–20µm and(B)0–50µm. pendices for details).Following the methodology of Hassink(1997)we performed regressions(Figure2 and Table1)between the C content associated with silt and clay particles(g C associated with silt and clay particles kg−1soil;Y axis)and the proportion of silt and clay particles(g silt plus clay g−1soil;X axis).All regressions were significant(P<0.05)and comparison of regression lines revealed that the influ-ence of soil texture on mineral-associated C content differed depending on the size range used for clay and silt particles.Consequently,we did regressions for two different size classes of silt and clay particles(i.e.0–20µm and0–50µm;Figure2and Table1).The intercept for the0–50µm silt and clay particles was significantly higher than for the0–20µm silt and clay particles(Table1).This difference in intercept was159probably a result of the presence of larger sized(20–50µm)silt-sized aggregates in the0–50µm than in the 0–20µm silt and clay particles.These larger silt-sized aggregates have more C per unit material because ad-ditional C binds the primary organomineral complexes into silt-sized aggregates(Tisdall and Oades,1982). However the difference in intercept might also be the result of POM particles of the size20–50µm as-sociated with the0–50µm fraction(Turchenek and Oades,1979).Intercepts for cultivated and forest eco-systems were significantly different for the0–50µm particles,but were only marginally significantly dif-ferent(P<0.06)for the0–20µm particles.Slopes for grassland soils(0–20µm particles)were signi-ficantly different than those for forest and cultivated soils.The differences between grasslands and cultiv-ated lands are likely due to differences in input and disturbance,which causes a release of SOM and con-sequently increased C availability for decomposition. An explanation for the significantly different slopes for grassland and forest soils(Table1)is not imme-diately apparent.Especially that the slope is higher for forest than grassland slopes.This is in contrast to the suggestion that grassland-derived soils have a higher potential of C stabilization than forest-derived because of their higher base saturation(Collins et al.,2000; Kononova,1966).Consequently,this difference in C stabilization by silt and clay particles between forest and grassland systems should be investigated further.In contrast to Hassink(1997),we found signific-antly different relationships for1:1clays versus2:1 clays regressions and for the cultivated versus grass-land regressions(Figure2and Table1)for the0–20µm particles.The effect of clay type was also signific-ant for the0–50µm particles.This lower stabilization of C in1:1clay dominated soils is probably mostly re-lated to the differences between the clay types(see be-low).However,the effect of climate can not be ignored in this comparison because most1:1clay dominated soils were located in(sub)tropical regions.The higher temperature and moisture regimes in(sub)tropical re-gions probably also induce a faster decomposition rate and therefore contributes to the lower stabilization of C by the1:1clays.Nevertheless we believe that the type of clay plays an important role because different types of clay(i.e.1:1and2:1clays)have substantial differences in CEC and specific surface(Greenland, 1965)and should,consequently,have different ca-pacities to adsorb organic materials.In addition,Fe-and Al-oxides are most often found in soils domin-ated by1:1minerals and are strongflocculants.By being strongflocculants,Fe-and Al-oxides can re-duce even further the available surface for adsorption of SOM.We are not certain why soils examined by Hassink(1997)did not follow this reduced capacity to adsorb organic materials;few soils dominated by 1:1clays,however,were included in the data set used by Hassink(1997)and most of them had a low car-bon content.Nevertheless,the difference between the two studies might also be a result of the contrast-ing effect the associated Fe-and Al-oxides can have. The strongflocculating oxides can reduce available surface(see above)but they might also co-flocculate SOM and consequently stabilize it.Therefore,it ap-pears that mechanisms with contrasting effects on SOM stabilization exist and the net effect still needs to be investigated.The different regression lines for grassland and cultivated systems are in accordance with Feller et al.(1997).They also found a signific-ant lower slope for the regression line between the amount of0–2µm particles and the C contained in the0–2µm fraction of cultivated soils compared to non-cultivated soils.The lack of influence of cultiv-ation on the silt and clay associated C observed by Hassink(1997)was probably a result of the low pro-portion of silt and clay and high SOM contents of the soils used.The silt-and clay-associated C formed a small fraction of the total C in his soils.Consequently, sand-associated C accounted for the majority of total soil C.Given this dominance of sand-associated C and its greater sensitivity to cultivation than silt-and clay-associated C(Cambardella and Elliott,1992),in which C is transferred from the sand associated fraction to the silt-and clay-associated fractions during decom-position(Guggenberger et al.,1994),a loss of silt-and clay-associated C upon cultivation is likely to be minimal.In summary,we found,as Hassink(1997)did,a direct relationship between silt plus clay content of soil and the amount of silt-and clay-protected soil C, indicating a saturation level for silt and clay associated C.This relationship was different between different types of land use,different clay types,and for differ-ent determinations of silt plus clay size class.Also, the silt-and clay-associated soil organic matter was reduced by cultivation.Physical protection:Microaggregate-protected SOM The physical protection exerted by macro-and/or mi-croaggregates on POM C is attributed to:(1)the compartmentalization of substrate and microbial bio-160mass(Killham et al.,1993;van Veen and Kuikman, 1990),(2)the reduced diffusion of oxygen into macro-and especially microaggregates(Sexstone et al.,1985) which leads to a reduced activity within the aggregates (Sollins et al.,1996),and(3)the compartmentalization of microbial biomass and microbial grazers(Elliott et al.,1980).The compartmentalization between sub-strate and microbes by macro-and microaggregates is indicated by the highest abundance of microbes on the outer part of the aggregates(Hattori,1988)and a substantial part of SOM being at the center of the aggregates(Elliott and Coleman,1988;Golchin et al., 1994).In addition,Bartlett and Doner(1988)repor-ted a higher loss of amino acids by respiration from the aggregate surfaces than from within aggregates. Priesack and Kisser-Priesack(1993)showed that the rate of glucose utilization decreased with distance into the aggregate.The inaccessibility of substrate for mi-crobes within aggregates is due to pore size exclusion and related to the water-filled porosity(Killham et al., 1993).Many studies have documented a positive influ-ence of aggregation on the accumulation of SOM(An-gers et al.,1997;Besnard et al.,1996;Cambardella and Elliott,1993;Franzluebbers and Arshad,1997; Gale et al.,2000;Golchin et al.,1994,1995;Jastrow, 1996;Monreal and Kodama,1997;Paustian et al., 2000;Puget et al.,1995,1996;Six et al.,1998,1999, 2000a).Cultivation causes a release of C by break-ing up the aggregate structures,thereby increasing availability of C.More specifically,cultivation leads to a loss of C-rich macroaggregates and an increase of C-depleted microaggregates(Elliott,1986;Six et al.,2000a).The inclusion of SOM in aggregates also leads to a qualitative change of SOM.For example, Golchin et al.(1994)reported significant differences in chemical structure between the free and occluded (i.e.within aggregates)light fraction.The occluded light fraction had higher C and N concentrations than the free light fraction and contained more alkyl C(i.e. long chains of C compounds such as fatty acids,lipids, cutin acids,proteins and peptides)and less O-alkyl C(e.g.carbohydrates and polysaccharides).These data suggest that during the transformation of free into intraaggregate light fraction there is a selective decomposition of easily decomposable carbohydrates (i.e.O-alkyl C)and preservation of recalcitrant long-chained C(i.e.alkyl C)(Golchin et al.,1994).Golchin et al.(1995)also found that cultivation decreased the O-alkyl content of the occluded SOM.They sugges-ted that this difference is a result of the continuous disruption of aggregates,which leads to a faster min-eralization of SOM and a preferential loss of readily available O-alkyl C.Hence,the enhanced protection of SOM by aggregates in less disturbed soil results in an accumulation of more labile C than would be maintained in a disturbed soil.Recent studies indicate that the macroaggreg-ate(>250µm)structure exerts a minimal amount of physical protection(Beare et al.,1994;Elliott, 1986;Pulleman and Marinissen,2001),whereas SOM is protected from decomposition in free(i.e.not within macroaggregates)microaggregates(<250µm) (Balesdent et al.,2000;Besnard et al.,1996;Skjem-stad et al.,1996)and in microaggregates within mac-roaggregates(Denef et al.,2001;Six et al.,2000b). Beare et al.(1994)and Elliott(1986)found an increase in C mineralization when they crushed macroaggreg-ates,but the increase in mineralization only accounted for1–2%of the C content of the macroaggregates.In addition,no difference in C mineralization between crushed and uncrushed macroaggregates has been ob-served(Pulleman and Marinissen,2001).In contrast, C mineralization of crushed free microaggregates was three to four times higher than crushed macroaggreg-ates(Bossuyt et al.,2002).Gregorich et al.(1989) observed a substantial higher C mineralization when microaggregates within the soil were disrupted than when lower disruptive energies were used that did not break up microaggregates.Jastrow et al.(1996),us-ing13C natural abundance technique,calculated that the average turnover time of C in free microaggreg-ates was412yr,whereas the average turnover time for macroaggregate associated C was only140yr in the surface10cm.These studies clearly indicate that C stabilization is greater within free microaggregates than within macroaggregates.Further corroborating evidence for the crucial role microaggregates play in C sequestration were reported by Angers et al.(1997), Besnard et al.(1996),Gale et al.(2000)and Six et al.(2000b).Angers et al.(1997)found in afield in-cubation experiment with13C and15N labeled wheat straw that wheat-derived C was predominantly stored and stabilized in free microaggregates.Gale et al. (2000)reported similar C stabilization within free mi-croaggregates in an incubation study with14C-labeled root material.Upon conversion of forest to maize cul-tivation,Besnard et al.(1996)found a preferential accumulation of maize-and forest-derived POM-C in microaggregates compared to other soil fractions. Six et al.(1999)observed a decrease infine intra-macroaggregate-POM(i.e.53–250µm sized POM161(fine iPOM)predominantly stabilized in microaggreg-ates within macroaggregates(Six et al.,2000b))under plough tillage compared to no-till.However,there was no difference in coarse intra-macroaggregate POM (i.e.250–2000µm POM not stabilized by the micro-aggregates within macroaggregates)between tillage systems at three of the four sites studied.They con-cluded that the incorporation and stabilization offine POM-C into microaggregates within macroaggregates and free microaggregates under no-tillage is a dom-inant factor for protection of thefine-sized fraction of POM.Nevertheless,the dynamics of macroaggreg-ates are crucial for the sequestration of C because it influences the formation of microaggregates and the sequestration of C within these microaggregates(Six et al.,2000b).That is,rapid turnover of macroaggreg-ates reduces the formation of microaggregates within macroaggregates and the resulting stabilization of C within these microaggregates(Six et al.,1998,1999, 2000b).Though the incorporation of POM into microag-gregates(versus bonding to clay surfaces;i.e.chem-ical mechanism)seems to be the main process for protection of POM,the clay content and type of soil exert an indirect influence on the protection of POM-C by affecting aggregate dynamics.Franzluebbers and Arshad(1997)suggested that physical protec-tion of POM within aggregates increases with clay content since mineralization of POM-C relative to whole-SOM-C after dispersion and aggregation both increased with increasing clay content(Franzluebbers and Arshad,1996).Different clay types lead to differ-ent mechanisms involved in aggregation(Oades and Waters,1991)and will therefore influence differently the protection of POM through microaggregation. Within the2:1clay minerals,clay minerals with a high CEC and larger specific surface,such as montmoril-lonite and vermiculite,have a higher binding potential than clay minerals with a lower CEC and smaller spe-cific surface,such as illite(Greenland,1965).In con-trast to the2:1minerals,kaolinite and especially Fe-and Al-oxides have a highflocculation capacity due to electrostatic interactions through their positive charges (Dixon,1989;Schofield and Samson,1954).Even though,different mechanisms prevail in soils with dif-ferent clay types,soils seem to have a maximum level of aggregate stability.Kemper and Koch(1966)ob-served that aggregate stability increased to a maximum level with clay content and free Fe-oxides content. Since the physical protection of POM seems to be mostly determined by microaggregation,we hypothes-ize that the maximum physical protection capacity for SOM is determined by the maximum microaggrega-tion,which is in turn determined by clay content,clay type.Biochemical stabilization:Biochemically-protected SOMIn this review,a detailed description of the influ-ence of biochemical stabilization on SOM dynamics will not be given,we refer to an excellent review on this subject by Cadisch and Giller(1997).Nev-ertheless,biochemical stabilization of SOM needs to be considered to define the soil C-saturation level within a certain ecosystem(Figure1).Biochemical stabilization or protection of SOM occurs due to the complex chemical composition of the organic mater-ials.This complex chemical composition can be an inherent property of the plant material(referred to as residue quality)or be attained during decomposition through the condensation and complexation of decom-position residues,rendering them more resistant to subsequent decomposition.Therefore the third pool in our model(Figure1)is a SOM pool that is stabilized by its inherent or acquired biochemical resistance to decomposition.This pool is akin to that referred to as the‘passive’SOM pool(Parton et al.,1987)and its size has been equated to the non-hydrolyzable frac-tion(Leavitt et al.,1996;Paul et al.,1995;Trumbore 1993).Using14C dating,it has been found that,in the surface soil layer,the non-hydrolyzable C is ap-proximately1300years older than total soil C(Paul et al.,1997a,2001).Several studies have found that the non-hydrolyzable fraction in temperate soils includes very old C(Anderson and Paul,1984;Paul et al., 1999;Trumbore,1993;Trumbore et al.,1996)and acid hydrolysis removes proteins,nucleic acids,and polysaccharides(Schnitzer and Khan,1972)which are believed to be more chemically labile than other C compounds,such as aromatic humified compon-ents and wax-derived long chain aliphatics(Paul et al.,1997a).The stabilization of this pool and con-sequent old age is probably predominantly the result of its biochemical composition.However,Balesdent (1996)did notfind any great differences in dynam-ics between the non-hydrolyzable and hydrolyzable C fraction and therefore questioned the relationship between biodegradability and hydrolyzability.Never-theless,we chose the hydrolysis technique to differen-tiate an older and passive C pool,because we think it is the simplest and best available technique to define。

Amy《艾米(2015)》完整中英文对照剧本

Amy《艾米(2015)》完整中英文对照剧本

《艾米》屋子里只剩我们三个了These are the only three people left.这是亚历克斯·斯蒂尔先生朱丽叶·阿什比女士This is Mr. Alex Steele,Mrs. Juliette Ashby,- 以及艾米·怀恩豪斯女士 - 噢我的咪&hearts;咪&hearts; Mrs. Amy Winehouse. Ah, my booby.1998年索斯盖特伦敦北部- 以及艾米·怀恩豪斯女士 - 噢我的咪&hearts;咪&hearts; Mrs. Amy Winehouse. Ah, my booby.1998年索斯盖特伦敦北部换句话说这是艾米·怀恩豪斯女士In other words, Mrs. Amy Winehouse.1998年索斯盖特伦敦北部其他人全都走了And everyone else is gone.1998年索斯盖特伦敦北部你要舔一口棒棒糖吗D'you want a lick of the lollipop?你要舔一口棒棒糖吗D'you want a lick of the lollipop?来嘛舔一口Come on, have a lick.- 不舔 - 舔一口过来No, I don't. Have a lick. Come here.舔一口Come and have a lick.鬼才想舔你的棒棒糖满是口水No one wants to lick your slobbery lollipop.- 劳伦就舔一下嘛 - 这是我Lauren, just lick it. Here's me.这是我的14岁…(劳伦·吉尔伯特)It's my 14th...生日派对之夜…birthday evening and party.♪ Happy birthday to you ♪(朱丽叶·阿什比)♪ Happy birthday to you ♪♪ Happy birthday dear Lauren ♪♪ Happy birthday... ♪♪ To... you ♪♪♪ Moon River wider than a mile ♪♪ I'm crossing you in style... ♪(艾米)我当时和一个小爵士乐团合作演唱(Amy): I was singing with a little jazz unit,国家青年爵士乐团the National Youth Jazz Orchestra,那时我大概16岁must've been about 16,我热爱爵士乐and I just loved jazz.黛娜·华盛顿(爵士歌&hearts;手)Dinah Washington...莎拉·沃恩(20世纪爵士三大天后之一)托尼·班奈特(美国传奇爵士歌&hearts;手)Sarah Vaughan, Tony Bennett.我学习唱歌&hearts;也是因为听蒙克(爵士音乐家 Thelonious Monk)I learned to sing from listening to stuff like Monk,以及很多独唱家的作品and a lot of soloists as well,而不只是听歌&hearts;手rather than just listening to singers.我从一切音乐中学习真的I learned from everything, really.♪ same rainbow's end ♪♪ Waiting round the bend ♪♪ My Huckleberry friend ♪♪ Moon River ♪♪ And me ♪唱歌&hearts;一直对我非常重要So singing has always been important to me,但我从没想过“我喜欢唱歌&hearts; 我要当歌&hearts;手”but I never thought, "I love singing, I'll be a singer."我只是在想“我很幸运”I just thought, "I'm lucky我喜欢做这件事又可以一直做下去there is something I can always do, if I want to.我很庆幸能有这个条件I'm so lucky like that."但我没想过这会成为一个职业选择But I didn't think it would be a career choice.♪ And me ♪♪ Moon River and me ♪♪今天几号&hearts;?What's the date?- 今天? - 24号&hearts;Today? 24th.2001年1月- 今天? - 24号&hearts;Today? 24th.2001年1月- 是吗 - 是的Is it? Yeah.- 是吗 - 是的Is it? Yeah.- 几号&hearts;? - 24号&hearts;The what? 24th.- 几月? - 1月Of what? January.然后今天是星期几?And, um, what day is it?- 星期六 - 今年是哪一年? (泰勒·詹姆斯)Saturday. And what year is it?午饭时间Lunchtime.我当时是一名19岁的办公室小职员I was a 19-year-old office junior在一家推广公&hearts;司&hearts;工作for a promotions company老板是西蒙·福勒owned by Simon Fuller.我正开始尝试自己到处吹牛I just started to try and kind of blag it myself做个星探(尼克·沙曼斯基“Brilliant 19”经纪公&hearts;司&hearts;)as a talent scout.但我当时其实根本没那个能力I was definitely out of my depth.(艾米) 我的朋友泰勒是一个歌&hearts;手(Amy): My friend Tyler is a singer.他当时和尼克·沙曼斯基在一起泰勒说He was with Nicky Shymansky and Tyler said,“我朋友艾米唱爵士乐唱得很棒”"My friend Amy sings jazz and she's great."尼克又对我说“想去录音棚试试吗”Nicky said to me,"Want some studio time?"我说“去干嘛?” 他说I said, "For what?" And he was like,“嗯如果你能写几首歌&hearts;”"Well, if you'd write songs,我们就录张唱片签个合同”we'd make a record, get a record deal."我说“那你能得到什么好处呢?”I was, like, "What do you get out of it?"哈喽Hello.我看起来丑死了I look ugly.6个月之后伦敦北部排练室我看起来丑死了I look ugly.6个月之后伦敦北部排练室看看你你就可爱多了Yeah, look at you. You look lovely.6个月之后伦敦北部排练室看看你你就可爱多了Yeah, look at you. You look lovely.并不可爱我下巴好大I don't. My chin's massive.- 你在担心你下巴吗 - 它跟你一辈子了Worried about your chin? That's there forever. ♪ There is no greater thrill ♪♪ Than what you bring to me ♪♪ No sweeter song ♪♪ Than what you sing ♪♪ Sing to me ♪♪- 确定要录了? - 是的Decide to record it? Yeah.哈喽Hello.我就在这儿… 抽根烟I'm just here... smoking a fag.我想… 噢我看起来好可怕I just like to... Oh, I look so grim.我像一颗飘浮的人头没有头发I look like a floating head. You know, I've got no hair. 因为背景全是黑的I'm just on a black screen.这是我的手到底怎么搞的?There's my hand. What's going on?(尼克) 我们录了一些小样(Nick): We'd recorded quite a few demo recordings, 我开始跟她聊and I started to talk about尼克·沙曼斯基经纪人尼克·沙曼斯基经纪人问她有没有考虑过写歌&hearts;whether she'd ever consider writing.她说她不确定自己能不能写歌&hearts;She said she's not sure about writing songs,但她写过一大堆诗but she's written a lot of poems.♪ And he's my life ♪♪她很清楚自己虽然一直都有写歌&hearts;She knew full well she'd been writing songs,但都是很个人的东西but they were very personal songs.(艾米) 我从不写别的歌&hearts;(Amy): I wouldn't write anything只写给自己听unless it was directly personal to me,因为有些事我没经历过just 'cause I wouldn't be able to tell the story right 我就没法把故事讲出来because I wouldn't have done it.即使有些歌&hearts;是挺伤感的个人情绪Even though some of it is personal in a sad way,我也从不让它们只是伤感I'd never let it just be that.我总会在歌&hearts;曲里加一些笑料I'll always put a punchline in the song.尝试让我的歌&hearts;词有所不同Just try and be different with my lyrics.有人给了我一张CD 两首歌&hearts;Someone gave me a CD,two songs,不是那种会一下爆火的流行歌&hearts;and they weren't necessarily what you'd call hit songs,但它们传递出一种情感打动了我but they conveyed an emotion that just touched me.盖·蒙特索尼英国主席ATV音乐出版人一个音乐人能做到这一点(盖·蒙特索尼英国主席 ATV音乐出版人)When you have that as an artist,盖·蒙特索尼英国主席ATV音乐出版人盖·蒙特索尼英国主席ATV音乐出版人那通常都是有故事的人you usually have a story to tell behind it.盖·蒙特索尼英国主席ATV音乐出版人但这还是很冒险的But it's a big leap of faith.盖·蒙特索尼英国主席ATV音乐出版人但这还是很冒险的But it's a big leap of faith.我觉得我的老板都不相信这单合同I think my boss even questioned the deal,因为我们答应付给because we were really committing to giving这个无名之辈差不多25万英镑an unsigned artist close to 250,000 pounds.2002年伦敦北部东芬奇利(艾米) 在我签下发行合同的那一刻我立刻搬进了自己的公&hearts;寓&hearts; 我从十三岁起就一直想搬出来自己住我想要待在只属于自己的公&hearts;寓&hearts;整天写歌&hearts; 大声放音乐抽大&hearts;麻&hearts;我甚至会一起床就抽大&hearts;麻&hearts;到天黑在我妈家里就不行我们都明白我俩想住在一起We both knew we wanted to live with each other,也都知道对方想搬出来住we both knew we wanted to move out.她有家庭问题我也有一大堆(朱丽叶.阿什比)She had family issues and I had lots of things和家里人的矛盾所以我们俩彼此照顾going on with my family, and we looked after each other.这很棒我们都是年轻人It was amazing. We were young kids两个好姐妹住在属于我们公&hearts;寓&hearts;里and we were best friends, in a flat on our own.她很喜欢这一切 (劳伦·吉尔贝特朋友)She loved it.朱丽叶会唱歌&hearts; 艾米会唱歌&hearts;Juliette would sing, Amy would sing...我们时常见面玩耍And we just used to see each other all the time.我们会和艾米去看很多演出We used to go to so many gigs with Amy.当她开始做自己的音乐时And when she first started doing her music,我们都很兴奋很替她骄傲we were all so excited and proud of it.艾米我们现在在哪Where are we, Amy?- 我们在布莱顿 - 对但我们具体在哪?We're in Brighton. Yeah, but what are we in now?我们在什么什么广场上Um, we're in, uh... What's-it Square,摄政广场坐在一辆黑色出租车上Regency Square, in a black cab.白色出租车漂亮的出租车In a white cab. A beautiful cab.- 劳伦也和我们在一起 - 噢!And Lauren's with us. Ah!你们知道我最喜欢尼克的什么吗D'you know what my favourite thing about Nicky is? 他的腿His legs.(尼克) 噢(Nick) Aw.你知道我还喜欢你什么吗Know what my other favourite thing is?- 什么? - 反正不是你的发型What? Not your hair.她能让你感到自己很重要She could make you feel so important...尼克·沙曼斯基经纪人她能让你感到自己很重要She could make you feel so important...尼克·沙曼斯基经纪人然后突然之间and then, all of a sudden,尼克·沙曼斯基经纪人又让你感觉自己很不重要very unimportant.又让你感觉自己很不重要very unimportant.然后又一次让你感到自己很重要And then make you feel so important again.这就是她的风格她喜欢先对你That was what she did. She liked to get people说些好听舒服的然后突然刺&hearts;激&hearts;你一下into a comfortable position and then shock them.如果我发型弄对了会怎么样?If I got my hair right, then what would that mean?那你就可以娶我了That would mean you were ready to marry me.《铁窗喋血》怎么样?我最近刚看过克里斯·泰勒男朋友我最近刚看过克里斯·泰勒男朋友(艾米) 我喜欢那部电影克里斯·泰勒男朋友克里斯·泰勒男朋友那是部很棒的片子克里斯·泰勒男朋友克里斯·泰勒男朋友你能连续吃五十个鸡蛋吗克里斯·泰勒男朋友你能连续吃五十个鸡蛋吗我可以试一试(尼克) 她的初恋对象(Nick): Her first relationship是一个比她大的家伙叫克里斯was with an older guy called Chris.她很迷恋他疯狂地爱上了他She really got the hots for him. Madly in love with him.她写了一些歌&hearts; 来表达对他的迷恋She wrote a few songs about having the hots for him.而最后她对他失去了兴趣And then, eventually, she lost interest and...她过去经常谈起这事还以此来创作She always used to talk about it and started writing about that. 《好家伙》怎么样卡伦? 我喜欢那一幕嗯是你之前经常叫我卡伦么? 我像卡伦吗?有点嗯你像个很强大的男人我觉得在我童年的时候I think when I was growing up,那些流行排行榜上的音乐the music that was in the pop charts or, you know,那些所谓的音乐the music that was...那个时候发行的那些歌&hearts;曲that people were releasing at the time,我觉得“这不是音乐”I just thought, "This isn't music,全都是水货或者说都是狗屎this is watered down, or this is, you know, just crap,别人帮你把歌&hearts;都写好了someone else has written it for you你只需要开口唱就可以and you have to sing it."现在有些音乐也是这样的It's very much the case with some music today.我开始创作歌&hearts;曲就是为了挑战自己I really started writing music just as... to challenge myself,看看我能不能写出来to see what I could write or, you know,而且那个时候真的没有什么just because there was nothing else there我能听的歌&hearts;了that I could listen to at the time.听过那些爵士乐还有那些伟大的唱作人And having listened to jazz and, you know, great songwriters 比如詹姆斯·泰勒还有卡罗尔·金like James Taylor and Carole King,那感觉像是… 我觉得那个时候it was very... I felt like I had nothing new我没有听到任何新鲜的音乐that was coming out at the time能真正表达我自己或是我的感受that really represented me or the way I felt.所以我才开始写歌&hearts; 写我自己的东西So I just started writing, really, my own stuff根据我个人的生活经历and from personal experience.这首是《听说爱是盲目》This is, um, I Heard Love is Blind.我想把头发夹起来I'll just clip, clip my hair2003年2月小岛唱片工作室伦敦我想把头发夹起来I'll just clip, clip my hair2003年2月小岛唱片工作室伦敦不挡着我不然会弄得我紧张out of the way, 'cause it's gonna get on my nerves.2003年2月小岛唱片工作室伦敦我还记得当她走进来时我在想I remember thinking, when she walked in,尼克·盖特菲尔德2001-08小岛唱片主席我还记得当她走进来时我在想I remember thinking, when she walked in,尼克·盖特菲尔德2001-08小岛唱片主席她真是浑身散发着一股天然的力量she was this complete force of nature.尼克·盖特菲尔德2001-08小岛唱片主席我想“哇这人肯定有点儿意思”I thought, "Wow, there's something about you."尼克·盖特菲尔德2001-08小岛唱片主席我还记得我就在想“千万要是个人才啊”And I remember thinking, "Please be good."我还记得我就在想“千万要是个人才啊”And I remember thinking, "Please be good."我在迈阿密和一个叫萨拉姆的人一起写的这首歌&hearts;I wrote this in Miami with a guy called Salaam and, um... - 我自己觉得很棒 - (尼克) 她当时18岁and I'm really proud of it. (Nick): She was 18她是一个非常典型的北伦敦犹太女孩and she was a very classic North London Jewish girl.特立独行A lot of attitude.很害羞但骨子里散发出特别的气息Quite shy, but something emanated from her.她有别样的魅力She had a charisma.当你分&hearts;析&hearts;她的作词能力When you looked at her lyrical capability和作曲水平时and her melodic capability,就发现她年轻的身体内有一个苍老的灵魂she was a very old soul in a very young body.我们非常爽快地签了合同And we did the deal very, very quickly.艾米的专辑昨天上市到现在卖&hearts;&hearts;多少了?Amy's album came out yesterday and how many has it sold so far? 令人难以置信卖&hearts;&hearts;了800张A pretty staggering 800, actually.那里面至少…That is at least我把账户里所有的钱拿来买&hearts;&hearts;了600张I've emptied my bank account buying 600 of them.伊恩·巴&hearts;特&hearts;尔&hearts;吉他手&键盘手我把账户里所有的钱拿来买&hearts;&hearts;了600张I've emptied my bank account buying 600 of them.伊恩·巴&hearts;特&hearts;尔&hearts;吉他手&键盘手起码有一半是我的小伙伴买&hearts;&hearts;的That is, at least half my friends have bought the album.伊恩·巴&hearts;特&hearts;尔&hearts;吉他手&键盘手丧心病狂我最好今天去把另一半也安利了Bastards. I'd better call the other half up today.丧心病狂我最好今天去把另一半也安利了Bastards. I'd better call the other half up today.毛毯里真舒坦啊Snug in a rug.她要被吵醒了She's going to get annoyed.艾米?Amy?解释一下你这是在干嘛Explain what your little hub is all about.- (伊恩) 喂噢你也来啊 - (艾米) 还在睡呢(Ian): Hello. Oh, you're coming. (Amy): Sleeping!(尼克) 快给个笑脸笑完我就不拍了(Nick): Just give us a smile, then we can turn the camera off. 来快笑一个就一秒钟Come on, just give us a quick one. A one-second flash. 2003年10月《Frank》专辑宣传巡演你觉得你能有多成功?How big do you think you're going to be?我完全没概念因为…I don't, at all, because, you know,观察家报记者加里·穆赫兰采访我完全没概念因为…I don't, at all, because, you know,观察家报记者加里·穆赫兰采访我的音乐没有那么大众不是很流行的东西my music is not on that scale. The music is not on that scale. 观察家报记者加里·穆赫兰采访我的音乐没有那么大众不是很流行的东西my music is not on that scale. The music is not on that scale. 有时候我希望能大受欢迎Sometimes I wish it was,但我不觉得我能出什么名but I don't think I'm gonna be at all famous.我也不觉得我能驾驭那么大名声I don't think I could handle it.我说不定会发疯的I'd probably go mad.你懂吗我说不定会疯的You know what I mean? I would go mad.- 我们现在去哪 - 我们去伯明翰!Where are we going? We're going to Birmingham!我们去伯明翰干什么?Why are we going to Birmingham?我们去伯明翰唱歌&hearts;We're going to Birmingham to sing songs.- 是吗 - 以及寻欢作乐Yeah? And make merry.噢这杆真凶残太猛了!Oh, that was sick! That was sick!- 拍我拍我 - 尼克这杆漂亮Get me, get me. Nicky, that was beautiful.你觉得这杆怎么样What are your thoughts on how beautiful that was?不到肥婆出来唱歌&hearts;(意指“到最后一刻”)我不会庆祝的我的确还没唱你不是肥婆啦好啦到你拍我了到我了到我了!My turn, my turn!等下让我拍个无敌画面Wait, let me get a really good shot.噢打得好Oh, what a shot.噢!Oh!她甚至都不在乎She don't even care.看好了… 看它自己进去Watch it... watch it go in there.这里不够亮Got no light in here.别把我的痘痘拍进去了Don't get my spots in.什么痘痘?What spots?- 爱你哟 - 你知道我在变焦放大吗?I love you. Do you know I'm zooming in?你把我的痘痘全拍进去啦!You're zooming in on all my spots!你个小婊砸You're a fucking cunt.我的头发这样看起来还行吗Does my hair look okay like this?嗯很好很可爱Yeah, very good. It's lovely.- 你确定? - 我发誓Do you promise? I promise.你觉得我今晚先唱哪首歌&hearts;比较好?What song d'you think I should do first tonight?我想你应该先唱...Right, I think you should sta rt off with…噢我喜欢你的小帽子! 超级可爱!Ah, I love your little cap! It's so cute!嗯我觉得你开场应该唱...Um, I think you should start off with a song called...噢我录下来了好吧好吧Oh, on camera. Okay. Okay.- 去吧好姐妹快上 - 你够了Go, sister. Go get done. Stop!♪ In my bed ♪♪ Yeah yeah... ♪♪(主播) 请你自我介绍一下(man): Could you please introduce yourself?2003年12月荷兰Toazted Media电台节目(主播) 请你自我介绍一下(man): Could you please introduce yourself?2003年12月荷兰Toazted Media电台节目好的大家好我是艾米·怀恩豪斯Yes. Hello. I'm Amy Winehouse.2003年12月荷兰Toazted Media电台节目我今年20岁是一名爵士乐歌&hearts;手I'm 20. I'm a jazz singer.2003年12月荷兰Toazted Media电台节目我听过你的专辑它听上去非常成熟I've heard your record and it sounds very, uh, mature. 2003年12月荷兰Toazted Media电台节目全都是现场录制的吗? 不止是演唱部分Is it all live? Also, not only the singing,全都是现场录制的吗? 不止是演唱部分Is it all live? Also, not only the singing,还包括器乐部分?but also the instruments?是的所有乐器全是现场录的Yeah, all the instrumentation is completely live.我的专辑里不会用任何假的小号&hearts;采样I wouldn't have any fake horns on my record.我觉得他们在《Take the Box》里加了假弦乐I think they put fake strings on Take the Box,而没有事先和我商量but I wasn't a part of that.我绝对不会在我的专辑里加弦乐绝不会I would never, ever have put strings on my record. Ever. 负责缩混那首歌&hearts;的家伙他真的…And this guy doing the mix of this song, he just...甚至都没考虑过我的感受didn't even think about it.好吧嗯…Okay, um...我问一两个问题just a couple of questions. Um...对不起我刚才有点刻薄我挺不爽的- 你很生气? - 是的Upset? Yeah.对不起我刚才有点刻薄我挺不爽的- 你很生气? - 是的Upset? Yeah.我恨那个家伙噢好好的Oh, okay. Okay, okay.好的那么…Okay. Um...已经很久没出现这样一个面对媒体There wasn't a girl that had been gobby in the media尼克·沙曼斯基经纪人已经很久没出现这样一个面对媒体There wasn't a girl that had been gobby in the media尼克·沙曼斯基经纪人如此心直口快的女孩了for a long time.尼克·沙曼斯基经纪人她可以非常刻薄And she could be very cutting.尼克·沙曼斯基经纪人尼克·沙曼斯基经纪人尤其是她觉得很烦或感到被误解的时候Especially if she got bored or felt misunderstood.尤其是她觉得很烦或感到被误解的时候Especially if she got bored or felt misunderstood.我不知道不过在我看来呢(woman): I dunno, it seems to me, though,每个会创作的女人你懂的that every woman who writes about, you know,在一张专辑里抒发自己的情绪kind of puts it down on a record对她们又不是件坏事doesn't do them any harm.就比如黛朵(Dido 英国女歌&hearts;手) 她…Look at Dido. I mean, she...就是用那张专辑来发泄她的情绪she used that album to clean out her emotional closet. - 是吗? - 是啊全是关于Did she? Yeah, it's all about她的分手经历什么的你懂的the break-up of her relationship and, you know,在爱情中艰难挣扎kind of like surviving. Mm...然后… 表达那种不想… 反正全是在说And, uh, and not, not going... I mean, like the whole thing 不要搞得鱼死网破about not going down with the ship.- 是么… - 我的意思是黛朵是黛朵Yeah... I mean, Dido's Dido,但… 你懂我的意思嗯…but, you know, I mean, uh...我觉得她是这个国家I think she's one of the most exciting这么多年以来and brilliantly talented vocalists最令人激动最有天分的歌&hearts;手之一to emerge in this country in many, many years.2004年3月乔纳森·罗斯周五之夜最令人激动最有天分的歌&hearts;手之一to emerge in this country in many, many years.2004年3月乔纳森·罗斯周五之夜这位就是艾米·怀恩豪斯It is Amy Winehouse.2004年3月乔纳森·罗斯周五之夜真棒Fantastic.你所在的经纪公&hearts;司&hearts; 曾捧出过”七小龙”乐团You're managed by the company who looks after S Club 7,辣妹组合就是西蒙·福勒的公&hearts;司&hearts;used to look after the Spice Girls, Simon Fuller.他们试过给你规定发展路线吗Have they tried to mould you in any way?要求你按他们的想法做事Asked you to do things,改变你的造型或言行么?to change the way you look or speak or behave?嗯有过他们中有个人想改造我Um, yeah, one of them tried to mould me把我变成“大三角”的一员(指光明会) 我说”不!”into a big triangle shape and I went, "No!"不我有我个人的风格No, I've got my own style.我有我的个人风格我写我自己的歌&hearts;I've got my own style and I wrote my own songs如果一个歌&hearts;手已经有了足够的东西and, you know, if someone has so much of something already, 你就没法再画蛇添足了there's very little you can... add.好你知道我喜欢你哪点吗Yeah. You know what I like about you, as well?你说话很普通The way you sound so common.因为我就是一个普通人Because I am common这感觉非常新鲜and it's like, you know, it's so refreshing能听到一个人说话不像是to hear someone who isn't speaking受过演讲课训练一样like they've taken elocution lessons.是的他们给我安排了演讲课然而这些课就是Yeah. They gave me elocution lessons, but they kind of... - 对你没作用 - 完全不鸟是的They didn't stick. Off my back, yeah.我很早就意识到I realized early on,当艾米做好了决定她就不会动摇when Amy made her mind up, she made her mind up. 珍妮斯·怀恩豪斯母亲当艾米做好了决定她就不会动摇when Amy made her mind up, she made her mind up. 珍妮斯·怀恩豪斯母亲要跟她对抗是件困难的事And I found it difficult to stand up to her.珍妮斯·怀恩豪斯母亲她会说”噢妈妈你对我太温柔了”She would say, "Oh, Mum, you're so soft with me.“哪怕我杀了人你都不会怪我"I can get away with murder.你该强势点妈妈”You should be tougher, Mum."我确实承认这一点Well, I just accepted it.我不够强势到能跟她说“停下”I wasn't strong enough to say to her, "Stop."我妈妈生完小孩后一个人把我们拉扯大因为…我爸爸还没离开之前他就已经不再照顾我们他从来都没照顾过我们比如一些很重要的事我指的不是上下学接送我想说的是在晚上当我们撒泼耍赖大叫“不我们不要上&hearts;床&hearts;睡觉”的时候他从没在一旁管过我们说“听妈妈的话”你懂吗?但我们需要的就是这些他却说他要工作艾米18个月大的时候我遇到了另一个女人I met another woman when Amy was about 18 months old.米切尔·怀恩豪斯父亲艾米18个月大的时候我遇到了另一个女人I met another woman when Amy was about 18 months old.艾米18个月大的时候我遇到了另一个女人I met another woman when Amy was about 18 months old.我们一起工作进而有了婚外恋We worked together. We were having an affair.但我和艾米的母亲继续生活了八&hearts;九&hearts;年才离开这个家But another eight or nine years were to pass before I left home.我是个懦夫I was a coward.但我感觉艾米很快就忘掉了这一切But I felt that Amy was over it pretty quick.我小时候非常开朗性情温和紧张害羞很善良直到九岁那年父母离婚后我觉得自己可以想穿啥就穿啥了可以说脏话可以化妆了真是酷毙纹身身上各种打洞逃学总跟男朋友在一起我妈经常午饭时间下班回家我就和男朋友躺在屋子里艾米还是十三四岁的时候When Amy was a teenager, 13 or 14,泰勒·詹姆斯朋友艾米还是十三四岁的时候When Amy was a teenager, 13 or 14,泰勒·詹姆斯朋友她被带去看心理医生she was being taken to the doctor's泰勒·詹姆斯朋友并且服用抗抑郁药物and she was on antidepressants.泰勒·詹姆斯朋友我曾吃过赛尔特(抗抑郁药)但它只能使我呆头呆脑的蠢蠢的我那时并不清楚抑郁症是怎么回事只知道有时我感觉怪怪的很不一样我觉得这是音乐人的特质所以我才写音乐你知道我不像有些人生活一团糟很多人饱受抑郁症折磨找不到发泄痛苦的办法你懂吗他们不像我可以找把吉他弹一小时来放松自己2004年北海爵士音乐节鹿特丹港♪ What is it about men ♪♪艾米过去常和我说这就是她的梦想Amy used to always say to me that that was her dream, really, 萨姆·贝斯特键盘手艾米过去常和我说这就是她的梦想Amy used to always say to me that that was her dream, really, 萨姆·贝斯特键盘手能够做这种演出to do those sorts of shows,萨姆·贝斯特键盘手在爵士乐俱乐部里给一小群听众唱歌&hearts;to play in jazz clubs to small audiences.萨姆·贝斯特键盘手在爵士乐俱乐部里给一小群听众唱歌&hearts;to play in jazz clubs to small audiences.她和音乐的关系比绝大多数人都要纯净She had one of the most pure relationships to music,纯粹的情感联结着她和音乐such an emotional relationship to music.对她而言音乐像是一个人那么重要Like she needed music as if it was a person,一个她能够为之出生入死的人and that she would die for it.请允许我宣读这个Let me read this.2004年7月全英创作音乐大奖伦敦噢天呐Oh, my God.2004年7月全英创作音乐大奖伦敦2004年7月全英创作音乐大奖伦敦得奖的是… (鲍比·沃马克)Uh, and the winner...2004年7月全英创作音乐大奖伦敦得奖的是… (鲍比·沃马克)Uh, and the winner...获奖歌&hearts;曲《Stronger Than Me》and the song is Stronger Than Me来自艾米·怀恩豪斯和萨拉姆·雷米by Amy Winehouse and Salaam Remi.掌声鼓励!Let's give it up!这是给我的对么? 此时此刻 (2004最佳当代歌&hearts;曲奖) This is me, isn't it? Right here.。

1000个好听的男孩英文名大全

1000个好听的男孩英文名大全

1000个好听的男孩英文名大全全文共10篇示例,供读者参考篇1Hey guys, do you want to know some cool and awesome English names for boys? Well, you're in luck because I've got a list of 1000 super cool names just for you! These names are perfect for any boy looking for a trendy and unique name. So without further ado, let's check out the list!1. Alexander2. Benjamin3. Caleb4. David5. Elijah6. Finn7. Grayson8. Henry9. Isaac11. Kai12. Liam13. Mason14. Noah15. Owen16. Parker17. Quinn18. Ryder19. Sebastian20. TheodoreWow, that's only 20 names and we still have 980 more to go! Aren't these names just so cool? I bet you can find the perfect name for yourself or your friend on this list. So keep on reading to find more amazing names!21. Aiden22. Blake23. Carter25. Ethan26. Gabriel27. Hayden28. Jackson29. Kaden30. Landon31. Mateo32. Nathan33. Oliver34. Preston35. Riley36. Sawyer37. Tristan38. Vincent39. Wyatt40. ZacharyWow, these names are so awesome! I wish I could have all of them as my name. But there are still 960 more names to go, so let's keep going!...And there you have it, 1000 super cool and awesome English names for boys! I hope you found the perfect name for yourself or your friend on this list. Remember, a name is a big part of who you are, so choose one that you really love. Have fun picking out a name and be proud of the awesome name you choose!篇2Hello everyone! Today, I'm going to share with you a list of 1000 awesome and cool boy names in English. These names are super trendy and perfect for any little guy out there. Let's check them out!1. Aaron2. Ace3. Adam4. Adrian5. Aiden6. Alex7. Alexander8. Alfie9. Andrew10. Anthony11. Archer12. Arthur13. Asher14. Austin15. Axel16. Beau17. Ben18. Benjamin19. Bodhi20. Brayden21. Brody22. Caleb24. Carter25. Charlie26. Chase27. Christian28. Christopher29. Cole30. Connor31. Cooper32. Daniel33. David34. Declan35. Dominic36. Dylan37. Eli38. Elijah39. Elliot41. Ethan42. Evan43. Finn44. Gabriel45. Gage46. Gavin47. Grayson48. Harrison49. Henry50. Hudson51. Hunter52. Isaac53. Isaiah54. Jack55. Jackson56. Jacob58. Jaxon59. Jayden60. Jesse61. John62. Jonathan63. Joseph64. Joshua65. Jude66. Kai67. Kaleb68. Kane69. Kian70. Landon71. Leo72. Leon73. Levi75. Lincoln76. Logan77. Lucas78. Luke79. Mason80. Mateo81. Matthew82. Max83. Michael84. Miles85. Nathan86. Nathaniel87. Nicholas88. Noah89. Oliver90. Owen92. Patrick93. Peter94. Preston95. Quinn96. Riley97. Robert98. Rowan99. Ryan100. SamuelPhew, that was a lot of names! I hope you found the perfect name for your little guy. Stay tuned for more fun and interesting articles. Bye for now!篇3Wow, have you ever thought about giving your little brother or cousin a really cool English name? How about these 1000 super cool and awesome names for boys? Trust me, they are all super cute and perfect for any little guy out there!2. Liam3. William4. James5. Benjamin6. Mason7. Elijah8. Oliver9. Henry10. Jacob11. Michael12. Alexander13. Ethan14. Daniel15. Matthew16. Jack17. Aiden19. Lucas20. David21. Joseph22. Samuel23. Carter24. Christopher25. Gabriel26. Ryan27. John28. Nathan29. Isaac30. Dylan31. Andrew32. Joshua33. Luke34. Christian36. Caleb37. Isaac38. Owen39. Cameron40. Carson41. Levi42. Hunter43. Wyatt44. Julian45. Austin46. Connor47. Brayden48. Jackson49. Easton50. Grayson51. Colton53. Jaxon54. Xavier55. Jeremiah56. Leonardo57. Damian58. Tristan59. Miles60. Greyson61. Lincoln62. Asher63. Kingston64. Evan65. Gavin66. Angel67. Benjamin68. Dominic70. Adam71. Brandon72. Nolan73. Charles74. Thomas75. Aaron76. Peter77. Paul78. Max79. Gabriel80. Julian81. Tristan82. Oscar83. Declan84. Chase85. Leo87. Archie88. Jaxon89. Mason90. Roman91. Knox92. Elliot93. Felix94. Louis95. Marco96. Antonio97. Charlie98. Alfie99. Billy 100. Harrison 101. Hayden 102. Jasper103. Grayson 104. Beckett 105. Sawyer 106. Kaden 107. Kian 108. Luka 109. Marcus 110. Zane 111. Wesley 112. Rhys 113. Finley 114. Rudy 115. Rory 116. Zachary 117. Simon 118. Finn 119. Oscar121. Evan 122. Matteo 123. Rocco 124. Luca 125. Kai 126. Alexander 127. Arthur 128. Conor 129. Austin 130. Albert 131. Andre 132. Jonathan 133. Elliot 134. Elliot 135. Eddie 136. Louis138. Dexter139. Ayaan140. Ashton141. Mohammed142. Aiden143. Kieran144. Zac145. Elliott146. Julian147. Max148. Stefano149. Blake150. CasperAnd the list goes on and on! These names are so cool and perfect for any little guy. So go ahead, pick one and make your little bro the coolest kid on the block with his brand new English name!篇4Hey guys! Today I'm gonna share with you a list of 1000 super cool and awesome boy names in English. Are you ready? Let's go!1. Noah2. Liam3. William4. James5. Oliver6. Benjamin7. Elijah8. Lucas9. Mason10. Logan11. Alexander12. Jacob13. Jack15. Daniel16. Henry17. Jackson18. Ethan19. Samuel20. Sebastian21. David22. Matthew23. Carter24. Joseph25. Owen26. Wyatt27. Gabriel28. Nathan29. Andrew30. Isaac32. Caleb33. Jayden34. Anthony35. Leo36. Lincoln37. Ryan38. Luke39. Dylan40. Thomas41. Aiden42. Joshua43. Christopher44. Adam45. Dominic46. Arthur47. Max49. Tyler50. Hunter51. Cooper52. Chase53. Grayson54. Aidan55. Declan56. Colton57. Jaxon58. Tristan59. Cameron60. Eli61. Jonah62. Barrett63. Ryder64. Preston66. Kai67. Theo68. Cole69. Finn70. Beckett71. Landon72. Jace73. Bennett74. Maxwell75. Xavier76. Cody77. Silas78. Miles79. Kingston80. Finnegan81. Jayce83. Zane84. Jesse85. Dominic86. Gage87. Asher88. Kian89. Kieran90. Rowan91. Blaine92. Brecken93. Cullen94. Daxton95. Eamon96. Finnian97. Gannon98. Izaiah99. Kian100. Lyle101. Maxim102. Niall103. Quinlan104. Rhys105. Slade106. Tylan107. Usher108. Vann109. Wesson110. ZayneAnd there you have it! 1000 super awesome and cool boy names in English. I hope you found the perfect name for your little boy. Stay tuned for more fun stuff next time! Bye bye!篇5Hey guys! Today, I'm going to share with you a super cool list of 1000 awesome and cute boy names in English. Are you ready to hear them all? Let's go!1. Liam2. Noah3. Oliver4. William5. Elijah6. James7. Benjamin8. Lucas9. Mason10. Ethan11. Alexander12. Henry13. Jacob14. Michael15. Daniel17. Jackson18. Sebastian19. Jack20. Aiden21. Matthew22. David23. Joseph24. Samuel25. Carter26. Wyatt27. Owen28. Dylan29. Julian30. Luke31. Gabriel32. Anthony34. Grayson35. Christopher36. Andrew37. Nathan38. Thomas39. Joshua40. Caleb41. Ryan42. Evan43. John44. Nicholas45. Adam46. Jonathan47. Elijah48. Connor49. Cameron51. Jaxon52. Jordan53. Jameson54. Lincoln55. Easton56. Dominic57. Nathaniel58. Eli59. Colton60. Levi61. Cody62. Brayden63. Hunter64. Isaiah65. Morgan66. Aidan68. Blake69. Riley70. Kai71. Alex72. Grayson73. Tyler74. Charlie75. Roman76. Max77. Cole78. Miles79. Austin80. Louis81. Mason82. Bruce83. Anthony85. Sean86. Cody87. Dylan88. Carter89. Jayden90. Noah91. Cody92. Cory93. Christopher94. Zane95. Ben96. Tatum97. Theo98. Kai99. Vin100. WillAnd there you have it, 1000 super cool and cute boy names in English. Hope you found the perfect name for the special boy in your life! See you next time, guys! Bye-bye!篇6Hey guys, today I'm gonna share with you a list of 1000 super cool and awesome boy names in English! These names are perfect for your new baby brother, your friend's little brother, or even your pet dog! So let's get started and check out these great names:1. Liam2. Noah3. Ethan4. Oliver5. William6. James7. Benjamin8. Lucas9. Henry10. Alexander11. Mason12. Samuel13. Michael14. Elijah15. Daniel16. Matthew17. Jackson18. David19. Joseph20. Carter21. Owen22. Dylan23. Luke24. Gabriel25. Anthony26. Isaac28. Joshua29. Jack30. Nathan31. Caleb32. Ryan33. Max34. Leo35. Isaac36. Aiden37. Thomas38. Julian39. Wyatt40. Levi41. Hunter42. Connor43. Sebastian45. Eli46. Dominic47. Jaxon48. Landon49. Oliver50. Cooper51. Miles52. Chase53. Cole54. Grayson55. Nolan56. Cameron57. Blake58. Adam59. Lincoln60. Xavier62. Hudson63. Easton64. Declan65. Tristan66. Jordan67. Antonio68. Jaxson69. Kai70. Carson71. Axel72. Ryder73. Sawyer74. Bentley75. Brody76. Micah77. Luca79. Beckett80. Phoenix81. Jasper82. Eric83. Damian84. Rowan85. Kai86. Jonah87. Orion88. Matteo89. River90. Maxton91. Atticus92. Ezekiel93. Beckham94. Ryder96. Maddox97. Santiago98. Gage99. Roman100. KaidenWow, that's a lot of names! I hope you found some that you really like. Whether you're looking for something classic, trendy, or unique, there's definitely a name on this list for everyone. Have fun picking out the perfect name for your special boy!篇7Hey guys, are you looking for a cool and awesome name for a baby boy? Well, you're in luck because I've got a list of 1000 great names for you to choose from!1. Liam2. Noah3. William4. James6. Benjamin7. Elijah8. Lucas9. Mason10. Logan11. Alexander12. Ethan13. Jacob14. Michael15. Daniel16. Henry17. Jackson18. Sebastian19. Aiden20. Matthew21. Samuel23. Joseph24. Carter25. Owen26. Wyatt27. Luke28. Jack29. Dylan30. Isaac31. Gabriel32. Julian33. Jaxon34. Levi35. Nathan36. Jayden37. Andrew38. Lincoln40. Caleb41. Ryan42. Thomas43. Aaron44. Nicholas45. Adam46. Zachary47. Eli48. Connor49. Brayden50. Christopher51. Jonathan52. Nolan53. Hunter54. Cameron55. Jeremiah57. Colin58. Charles59. Sean60. Dominic61. Miguel62. Rafael63. Alex64. Kyle65. Max66. Juan67. Chase68. Cooper69. Xavier70. Jace71. Brian72. Tyler74. Edward75. Carson76. Joel77. Paul78. Ian79. Jasper80. Miles81. Kaden82. Oscar83. Ricardo84. Bradley85. Antonio86. Wesley87. Julian88. Travis89. Elliot91. Victor92. Eric93. Marshall94. Trevor95. Blake96. Bentley97. Shane98. Patrick99. Vincent100. RayWow, that's a lot of names to choose from! I hope you find the perfect name for your little boy. Good luck!篇8Hello everyone! Today I'm going to share with you a list of 1000 super cool and awesome boy names in English. I bet you'll find the perfect name for any boy you know!1. Aiden3. Liam4. Mason5. James6. Lucas7. Ethan8. Benjamin9. Henry10. AlexanderWow, that's only the beginning! There are so many more names to go through. Let's keep the list going!11. William12. Michael13. Jacob14. Daniel15. Matthew16. Jack18. Logan19. Oliver20. DavidI hope you're keeping track of your favorites because there are still 980 more names to go! Let's keep this list going strong!21. Joseph22. Carter23. Dylan24. Isaac25. Owen26. Wyatt27. Gabriel28. Jackson29. Adam30. LeoPhew, that's a lot of names! But we're not even halfway there yet. Don't worry, I'll keep going!32. Nathan33. Cameron34. Jayden35. Luke36. Carson37. Alex38. Julian39. Connor40. ZacharySo many great names to choose from! I hope you're starting to narrow down your favorites. Let's keep going with this list of awesome boy names!41. Elijah42. Jeremiah43. Isaiah44. Sebastian45. Nolan47. Chase48. Adrian49. Justin50. XavierWe're almost halfway there! Keep going and find that perfect name for that special boy in your life!51. Colin52. Brandon53. Tyson54. Lincoln55. Carter56. Maddox57. Jaxon58. Kaden59. Preston60. KaiWow, we've reached the halfway point! Keep going strong and find the perfect name for any boy you know!61. Connor62. Gavin63. Damian64. Brody65. Ryder66. Declan67. Tristan68. Kingston69. Declan70. HarrisonWe're on a roll! Keep going strong and find that perfect name for any boy you know!71. Braxton72. Desmond73. Spencer74. Ezekiel。

给那些我爱的人

给那些我爱的人
1998 年 入 选 美 国 电 影学会“AFI百年百大明 星”之一
如果我必 須要離開 你 我的愛人
我必須獨 自走上這 條 安靜的道 路
請不要悲 痛 也不要落 淚
儘管笑著和 我交談吧 就好像我還 站在你的身 旁
當你聽到一 首歌曲 或者愛到我 喜歡的一只 鳥
請不要因 此而悲傷 的想起我Leabharlann 因為我仍 然愛你 仿若從前
——影星 格利高里· 派克
在他的好友弗兰克葬礼上
背诵的诗
图:网络
文:《读者》2003· 21
本页手动翻页
Memory
格里高利 · 派克,美 国影星。生于 1916 年 04 月 05 日,美国加利福尼 亚州拉霍亚镇;逝于 2003 年 06 月 12 日,美国 加利福尼亚州洛杉矶。 毕业于加州大学语 言文学专业 。
你是如此的 善良 有許多事我 想為你做
有許多的 話我還沒 有說
但是請你 記住 我從未 害怕過
那沒有你 的世界 我面對的 未來
我們注定 無法看到 未來
但是 我 知道
我是 如此 愛你
和你一 起走過 的日子
就是 天堂
按“Esc”鍵退出

纳撒尼尔·霍桑作品《拉帕齐尼的女儿》与圣经的联系

纳撒尼尔·霍桑作品《拉帕齐尼的女儿》与圣经的联系

纳撒尼尔·霍桑作品《拉帕齐尼的女儿》与圣经的联系发布时间:2021-04-22T10:36:23.800Z 来源:《教育学文摘》2021年第3期作者:卿瑜[导读] 纳撒尼尔·霍桑是十九世纪美国文学史上具有代表性的浪漫主义小说家卿瑜重庆工业职业技术学院ABSTRACT: Nathaniel Hawthorne was a representative romantic writer in the 19th century American literature, who was praised as “the first great novelist of American nation.” He was greatly affected by Calvinism believed that the “ Original Sin” was the source of evil. In his story Rappaccini’s Daughter, he exquisitely displayed his idea about evil in human nature. Also, many Biblical Similarities can be found in the story. The purpose of this paper is to introduce, compare, and discuss the story in order to find its close ties with the Holy Bible.KEY WORDS: Nathaniel Hawthorne, Original Sin, evil, Holy Bible摘要: 纳撒尼尔·霍桑是十九世纪美国文学史上具有代表性的浪漫主义小说家。

人们称赞他为“美国第一位伟大的小说家。

” 霍桑深受加尔文主义的影响认为“原罪”是人类恶性的根源。

阿尔坦每日成长歌词

阿尔坦每日成长歌词

阿尔坦每日成长歌词阿尔坦每日成长歌词《daily growing》是阿尔坦演唱的歌曲,收录在专辑《The Blue Idol》中。

《每日成长》是阿尔坦的专辑《The Blue Idol》之一。

歌手磁性的嗓音拨动着观众的心弦,独自欣赏时,仿佛听到远处寺庙的古钟轻轻敲响,悠远深沉的钟声吹散了心中的尘埃。

安静下来听,你可能会被他们之间的感情所感动。

汉英歌词它们长得很高,叶子也是绿色的,树长高了,树叶变绿了。

很多次是我见到我的真爱,很多次,我看到了我的真爱。

我一个人看了他好几个小时,我什么时候单独见过他?他很年轻,但每天都在成长。

他还年轻,但他正在一天天成长。

父亲,亲爱的父亲,你对我做了很多错事,爸爸,亲爱的爸爸,你对你的女儿犯了一个巨大的错误。

你把我嫁给了一个太年轻的男孩,你把我嫁给了一个未成年的男孩。

我是十二岁的两倍,而他只有十四岁,我二十四岁,他十四岁。

他很年轻,但每天都在成长。

他还年轻,但他正在一天天成长。

女儿,亲爱的女儿,我没有做错什么,女儿,亲爱的女儿,我对你的安排没有错。

我把你嫁给了一个伟大的领主的儿子,我会把你嫁给一个有钱人家的儿子。

当我死后,他将成为你的男人,一旦我老了,他就是你依赖的那个人。

他很年轻,但每天都在成长他还年轻,但他正在一天天成长。

父亲,亲爱的父亲,如果你觉得合适,爸爸,亲爱的爸爸,如果你觉得合适。

我们还要送他去上一年大学,明年之后,送他上大学。

我会在他头上系一条蓝丝带,我会在他头上缠一条蓝丝带。

让少女们知道他结婚了。

告诉那个年轻女孩他结婚了。

有一天,我在看我父亲的城堡墙,有一天,我从远处望出去,看着古老城堡的高墙。

我发现所有的男孩都在玩球,我看到一群青少年在玩。

我自己的真爱是他们所有人的花朵,我的心上人就像一朵花,在人群中熠熠生辉。

他很年轻,但每天都在成长。

他很年轻,但他一天天长大。

所以一大早天刚亮的时候,那天早上,东方微微出现了曙光。

他们走进一片干草地,进行一些运动和玩耍,我女儿和他的心上人一起去草堆里观光。

金属有机骨架材料MOFs及其应用ppt课件.ppt

金属有机骨架材料MOFs及其应用ppt课件.ppt
• we choose MIL-101 as the stationary phase and xylene isomers and ethy-lbenzene (EB) as the targets for separation.
Gu, Z. Y. Yan, X. P. Angewandte Chemie-International Edition 49, 1477-1480 (2010)
Hydrogen Storage in Microporous rganic Frameworks
Rosi, N. L. Eckert, J. Eddaoudi, M. O'Keeffe, M.Yaghi, O. M. science 300, 1027-1029 (2003)
MOF-5的储氢性能
实验流程图
吸附性能
富集效果
105ppb
2030ppb
Metal–Organic Framework MIL-101 for HighResolution Gas-Chromatographic Separation of
Xylene Isomers and Ethylbenzene
• We show the first fabrication of the MOFcoated capillary column for high-resolution GC separation.
78K
298K
Rowsell, J. L. C. Spencer, E. C. Eckert, J. Yaghi, O. M. science 309, 1350-1354 (2005)
Metal Organic Frameworks as Adsorbents for Trapping and Preconcentration of Organic Phosphonates

朱利安 布里姆

朱利安 布里姆
到1945年时,布里姆在少年组的钢琴比赛中获奖,这使得他有机会到伦敦的皇家音乐学院(Royal College of Music)学习钢琴和大提琴。同年,他的父亲让他在伦敦爱乐社团的活动中演奏,使得他的音乐天赋被Boris Perott所注意,并提议说要教布里姆演奏吉他。于是布里姆跟随Perott学习了一年。此后, Perott和Wilfrid Appleby又将布里姆介绍给塞戈维亚大师,大师听过布里姆的演奏,留下了深刻的印象,并同意给这个只有13岁 的学生上课。
小传
Julian Bream是一位世界闻名的吉他演奏家及鲁特琴演奏家。在他17岁的时候,尽管当时他还没有在英国之 外的地方进行过任何演出活动,但是他已经名声在外,成为世界闻名的吉他演奏家了。
朱利安·布里姆朱利安·布里姆大师出生在一个音乐家庭。他的父亲是一位商业美术家,同时他还参加了一 个小型的跳舞乐团,在其中演奏爵士吉他。当时,正直年轻的布里姆就对具有传奇色彩的吉普赛吉他演奏家 Dhabgi Reubhardt的爵士吉他音乐风格非常感兴趣。布里姆的父亲鼓励儿子学习钢琴的演奏,同时也学习演奏吉 他。在他11岁那年,布里姆的父亲送给了他一把古典吉他。
2020年8月14日逝世。
个人简介
朱利安·布里姆姓名:Julian Bream (朱利安·布里姆)
1933年7月15日出生于英国伦敦Battersea。朱利安·布里姆大师出生在一个音乐家庭。他的父亲是一位商业 美术家,同时他还参加了一个小型的跳舞乐团,在其中演奏爵士吉他。当时,正直年轻的布里姆就对具有传奇色 彩的吉普赛吉他演奏家DhabgiReubhardt的爵士吉他音乐风格非常感兴趣。布里姆的父亲鼓励儿子学习钢琴的演 奏,同时也学习演奏吉他。在他11岁那年,布里姆的父亲送给了他一把古典吉他。

本杰明巴顿奇事钢琴曲

本杰明巴顿奇事钢琴曲

本杰明巴顿奇事钢琴曲
《本杰明巴顿奇事钢琴曲》(Miracles Of Benjamin Burnon)是
一部由史蒂芬·拉塞尔(Steven LaSalle)创作的钢琴曲,也是作曲
家本杰明·巴顿(Benjamin Burnon)最为人熟知的作品之一。

拉塞尔
先生使用了七种不同的钢琴风格创作了这首曲子,试图描绘出本杰明·巴顿的一生中的不同时期,以及其艺术成就的流变。

该曲子开篇欢快,并融入了令人耳目一新的旋律,甚至在结尾时
仍保持着这种欢乐的气氛,但其间也不乏曲折的曲调和丰富的表情。

整首曲子呼应着本杰明·巴顿在音乐上的追求:创新,技巧,表现力,形式和意象。

本曲以中等进步速度跳跃,曲调有助于表达本杰明·巴顿的故事,随着旋律推进,它也会变得更加复杂,更加抒情。

当然,拉塞尔的表
现力也很出色,声音十分清晰,并将本杰明·巴顿的作品展现得淋漓
尽致。

上段结尾时,也采用了宏大的声部突出高潮,而中间段,也有
轻快的流畅旋律,使得整首曲子显得更加缤纷多彩,极具表现力。

总之,这首曲子不仅融入了本杰明·巴顿艺术上的精髓,还把他
情感和心情都体现出来,以及他对于音乐的不懈追求和热情。

毫无疑问,这是一部完美无缺的钢琴曲,是本杰明·巴顿的个人作品的最佳
代表。

葡萄酒教育家:伊恩·达加塔(Ian D'Agata)人物简介

葡萄酒教育家:伊恩·达加塔(Ian D'Agata)人物简介

• 为葡萄酒爱好者提供了丰富的知识和灵感
伊恩·达加塔的葡萄酒推广活动与讲座
在多个葡萄酒展览和研讨会上进行讲座
• 分享葡萄酒知识和品鉴技巧
• 吸引了大量葡萄酒爱好者和专业人士参加
开展葡萄酒品鉴课程和研讨会
• 为葡萄酒爱好者提供了学习和交流的平台
• 提高了葡萄酒爱好者的品鉴水平和知识
伊恩·达加塔的葡萄酒教育社会影响与评价
• 定居在皮埃蒙特地区
• 深造葡萄酒专业知识和技能
在意大利的学习与实践经历
• 成为了葡萄酒大师
• 在多家知名酒庄工作过

⌛️
伊恩·达加塔的葡萄酒教育背景
在澳大利亚的墨尔本大学学习葡萄酒科学
• 获得了学士学位
• 对葡萄酒的生产和品鉴有了深入了解
在意大利的皮埃蒙特大学攻读葡萄酒专业
• 获得了硕士学位
• 专门研究葡萄酒的感官评估和市场营销
• 分享葡萄酒知识和品鉴技巧
• 吸引了大量葡萄酒爱好者和专业人士参加
演讲主题包括葡萄酒品鉴、市场营销等
• 涵盖了葡萄酒行业的各个方面
• 为听众提供了宝贵的知识和经验
伊恩·达加塔的媒体合作与曝光
与多个葡萄酒专业杂志和网站合作
• 定期发表葡萄酒文章和专栏
• 提高了自己的知名度和影响力
接受过多个葡萄酒媒体采访
• 成为了葡萄酒爱好者的必读之作
02
发表了大量葡萄酒文章
• 在多个葡萄酒专业杂志和网站上发表
• 为葡萄酒爱好者提供了丰富的知识和灵感
03
参与编写了葡萄酒百科全书
• 为葡萄酒行业提供了全面的信息和知识
• 成为了葡多个葡萄酒展览和研讨会上进行演讲
• 为多家葡萄酒学院和培训机

拉脱维亚流行男歌手塔尔斯弗雷曼

拉脱维亚流行男歌手塔尔斯弗雷曼

拉脱维亚流行男歌手塔尔斯弗雷曼塔尔斯弗雷曼(Tālismans),全名Mārtiņš Freimanis,是拉脱维亚著名的流行男歌手。

他以他的独特音色、精湛的演唱技巧和深情的歌曲而广受欢迎。

本文将介绍塔尔斯弗雷曼的音乐事业和他在拉脱维亚音乐界的重要地位。

塔尔斯弗雷曼生于1977年5月22日,在音乐早期的经历已经对他的整个职业生涯产生了深远的影响。

尽管他的音乐才华并不是立刻被发现的,但随着他不断努力和努力的付出,他逐渐建立起自己的音乐风格和声誉。

塔尔斯弗雷曼的音乐涵盖了各种风格,包括流行、摇滚和乡村音乐。

他的音乐作品普遍表达了爱情、家庭和人生的主题,具有强大的感染力和情感共鸣。

他的歌曲通常以他独特的嗓音和真挚的表达方式著称,令人难以忘怀。

塔尔斯弗雷曼的热门单曲包括《天堂的传讯》、《宝石》和《我所需要的只是你》等。

除了他的独立音乐事业外,塔尔斯弗雷曼还积极参与各种音乐项目和慈善事业。

他经常参加音乐节、演唱会和慈善活动,为慈善机构筹款并提高公众对社会问题的关注。

他的音乐和人道主义工作使他成为拉脱维亚音乐界的重要人物之一。

塔尔斯弗雷曼的音乐成就得到了广大观众和专业音乐界的一致认可。

他曾多次获得拉脱维亚音乐奖项,并在拉脱维亚乐坛塑造出了自己的标志性地位。

他的音乐作品在当地广播电台和音乐排行榜上经常获得最高排名,并受到听众的热烈欢迎。

塔尔斯弗雷曼的成功不仅仅局限于拉脱维亚,他的音乐影响力也逐渐扩展到国际舞台上。

他先后在欧洲多个国家进行巡演,并与其他国际知名音乐人合作。

他的音乐不仅能够打动拉脱维亚观众,也赢得了更广泛的国际听众的认可和喜爱。

总结起来,塔尔斯弗雷曼是拉脱维亚流行男歌手,他以他的音乐才华和深情的歌曲征服了无数人的心。

他的音乐作品富有情感共鸣,他的独特嗓音成为他的标志之一。

塔尔斯弗雷曼不仅在拉脱维亚音乐界卓有成就,他的影响力也逐渐扩展到国际舞台上。

他用他的音乐改变了人们的生活,并成为众多粉丝心目中的偶像。

美国桂冠诗人乔伊·哈卓诗选

美国桂冠诗人乔伊·哈卓诗选
新的勇气从群星中闪烁。
并照亮用历史之血印刷的地图,你将凭借你的意图、太阳 群的语言
了解地图。
当你注意到怪物杀手的踪迹时,它们进入充满人造光的城 市,杀死
正在杀我们的东西。
你将看见赤红的崖壁。 它们是心脏,内有阶梯。
一头白鹿会迎接你,当那个最后的人类从毁灭中爬出。
记住那羞耻的洞穴,它留有那放弃 我们部落土地行为的标记。
曾几何时,我们知晓这丰饶允诺中的一切。
我对你讲的话是真实的,被铭刻在地图上的 警示里。 健忘症暗暗接近我们,留下纸尿布、 缝衣针和那浪费的血的痕迹。
即将制作一张有瑕疵的地图,小小的地图。
入口处是你妈妈的血海,你父亲的小死, 当他渴望知道另一个人中的自己时。
没有出口。
可以透过肠壁— ——知识之路上的漩涡
远 洋 , 1962 年 生 , 武 汉 大 学 毕 业 。 中 国 作 家 协 会 会 员 。 翻 译 过 诺 贝 尔 文 学 奖 、 普 利 策 诗 歌 奖 、 艾 略 特 诗 歌 奖 诗 集 20 多 部 。 出 版 译 诗 集 有《亚 当 的 苹 果 园》《雄 鹿 的 跳 跃》《明 亮 的 伏 击》《未 选 择 的 路》等 。
66
来传递这张地图。
你将穿过死亡的羊皮纸旅行,闻到从营地 飘来烹调的香气,在银河里,我们的亲属 在煮新鲜鹿肉,煲玉米浓汤。
他们从来没有离开我们;我们为了科学而抛弃他们。
而当你吸入一口空气时,我们进入第五世界, 在那里将不会有 X,你能携带的附有说明的 旅行指南。
你将只能依靠你妈妈的声音导航,她在更新 她正在唱的歌。
美国桂冠诗人乔伊·哈卓诗选
[美国]乔伊·哈卓 远洋 / 译
. All乔R伊i·g哈h卓t(sJoyRHeasrjeo)r诗v人e、d作.家、音乐家。 1951 年她 出生在俄克拉荷马州的塔尔萨,是马思科吉(克里克)族的 一员。 父亲是克里克人,母亲有切诺基人、法国人和爱尔兰 人血统,1976 年她毕业于新墨西哥大学诗歌创作专业,获 得学士学位,1978 年在爱荷华作家工作室获得艺术硕士学 位。 现已出版 12 部诗歌、 散文著作,5 张原创音乐专辑。 2019 年 6 月她被任命为第 23 届美国桂冠诗人, 是有史以 来第一个印第安人获此殊荣,同年当选为美国诗人学会会 长。 她是第二波美国印第安文艺复兴的重要人物。 曾获美 国笔会中心非虚构创作奖 (2013)、 华莱士·史蒂文斯奖 (2015)、鲁思·莉莉诗歌奖(2017)等。

赣南兴国东固高分异花岗岩成因及地质意义

赣南兴国东固高分异花岗岩成因及地质意义

赣南兴国东固高分异花岗岩成因及地质意义舒徐洁;陈志洪;朱延辉;廖圣兵;周博文;李功振;赵旭辰;刘爽;陈雷超【摘要】本文对江西省兴国县东固花岗岩体进行了岩石学、全岩元素地球化学、锆石U-Pb及Lu-Hf同位素研究.研究结果表明,东固岩体中东固、雪竹坑和佛子山单元均形成于152±2Ma,为近同期岩浆作用的产物,而非前人认为属于三个不同时期,这一发现对于认识东固岩体的成因有着重要作用.东固岩体具有较高的全岩SiO,含量、Rb含量(>350μg/g),较低的Zr/Hf、Nb/Ta值,地球化学上兼有部分铝质A 型花岗岩和高分异S型花岗岩的特征,其成因类型较难界定.其中白云母花岗岩单元分异程度最高,与成矿作用密切相关,已经发现的矿床多产于其中或其与围岩接触带.东固岩体中不同单元的锆石εHf(t)值均集中,佐证前人划分的不同单元可能来自于同一源区.其锆石εHf(t)值介于-9~-11之间,对应两阶段亏损地幔模式年龄为1.7~1.9 Ga,同位素特征显示其可能起源于古元古代地壳变质基底的部分熔融.结合附近存在的“裂谷型”正长岩类,我们认为东固岩体可能产生于古太平洋板块向华南板块俯冲所产生的拉张构造背景之下,高分异岩体的界定有利于后期进一步找矿工作的开展.%Systematic mineralogical,whole-rock geochemistry,zircon U-Pb dating and zircon Lu-Hf isotopic compositions analysis were done on the Donggu granitic pluton.The different rock units which former named Donggu,Xuezhukeng and Fozishan unit were formed contemporary at 152±2 Ma rather than formed at dif ferent periods.Donggu pluton is characteristic with high whole rock SiO2content,Rb(>350 μg/g) and low Zr/Hf,Nb/ Ta value.It has geochemical features similar to the aluminous A-type granite and highly fractionated S-type granite,which is hard to define its rock genetic type.The mica bearing granite unit has the highestdifferential degree and closely related to the tungsten ore.Ore deposits were found in the mica bearing units or the wall rock contact zone.The zircon εHf(t) values of Donggu pluton have narro w variations which suggest the different units of the granite probably from the same source area.Zircon εHf(t) values vary from-9 to-11 and the T2DM ages vary from 1.7~ 1.9Ga,indicating the granite were formed by partial melting of the metamorphic bine with "riff-type" syenites which were found near the study area,we suggest that the Donggu pluton were formed at extensional geological background which triggered by the subduction of the paleo-Pacific plate.Determination of the highly fractionated granite is conductive to further ore deposit prospecting works.【期刊名称】《地质论评》【年(卷),期】2018(064)001【总页数】19页(P108-126)【关键词】高分异花岗岩;岩石成因;东固岩体;江西【作者】舒徐洁;陈志洪;朱延辉;廖圣兵;周博文;李功振;赵旭辰;刘爽;陈雷超【作者单位】南京地质矿产研究所,南京,210016;南京地质矿产研究所,南京,210016;南京地质矿产研究所,南京,210016;南京地质矿产研究所,南京,210016;中国地质科学院研究生院,北京,100037;成都理工大学,成都,610059;成都理工大学,成都,610059;成都理工大学,成都,610059;成都理工大学,成都,610059【正文语种】中文花岗岩类是陆壳重要岩石类型之一,代表着地壳分异演化的最终岩浆产物(Rudnick, 1995)。

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Benjamin 1 Talitha BenjaminProfessor ObermeierEnglish 2008 December 1999[comment1]Perceptual Manipulation in Shakespeare's Taming of the Shrew Teun A. Van Dijk, in his essay "Pragmatics and Poetics," explains the reason for speech is "to change the internal state of the hearer" (Dijk 30). Ferdinand de Saussure describesin his essay, "Nature of the Linguistic Sign," how a word is more connected to the minds of the speaker and the hearer than to anything else. He describes that the "linguistic sign" as a unit formed equally by the association of a "concept" and a "sound-image." The "sound-image" is what one would call a spoken word, something that "signifies." Saussure describes it as "the psychological imprint of the sound, the impression that it makes on our senses" (Saussure 832). He goes on to describe its materiality: "the sound-image is sensory" (Saussure 832). The term "concept" is summed-up as being "generally more abstract" (Saussure 833) than the "sound-image." The "concept," it appears, is what one would call objective perceptions, for example, the table, or an ox. A "concept" is anything that can be "signified." In The Taming of the Shrew Petruchio intends to break Katharina by disassociating her from her sense of reality by prying apart the linguistic unit she has intuitively taken for granted.The first scene demonstrates Katharina's personality through the interaction she has with her sister, Bianca, and her father, Baptista. She is shown to have "a devilish spirit" (Shakespeare 2.1, 25). Katharina has tied her sister's hands and is taunting her, goading her into telling her which of Bianca's suitors is her favorite. Petruchio, shortly afterwards, meets Baptista and speaks to him about Katharina. Instead of calling her a shrew, Petruchio compliments her on her "beauty andher wit, / Her affability and bashful modesty, / Her wonderous qualities and mild behavior" (Shakespeare 2.1, 47-9), all of which strike Baptista as so strange a depiction of his daughter Katharina that he thinks Petruchio must have mistaken her for a different girl. Petruchio has started the process that will disassociate Katharina from the world she knows to be true and make her dependent on the world he asserts to be true.Petruchio's claims of how sweet he has heard Katharina to be are the absolute opposite of how she is perceived by the other characters in the play. Katharina is notoriously un-sweet. Bent Rosenbaum explains in his essay, "The Discourse of Psychosis and the Process of Listening," that when speech is manipulated so that what is being spoken is radically different from what is spoken about, the spoken realm takes on a reality of its own. Whether or not this spoken realm is perceived by anyone but the speaker does not diminish its existence for the speaker and, by extension, those who respond to the speaker (Rosenbaum 206). Petruchio is constructing an identity for Katharina that contradicts completely the one Katharina herself demonstrates, and because he is stating it as if it were true it begins to take shape as a truth. Harly Sonne states that in certain forms of madness, language becomes "liberated from its otherwise tightly bound relations to what it means" (Sonne 228). Sonne says it is as if the linguistic sign has been abnormally broken down into its components, and the signifier begins to work independently of the signified (Sonne 228). Petruchio works in this model and madly separates signifier from signified.Petruchio gives a soliloquy in which he communicates his plan to "tame" Katharina. Petruchio says that he will present the world to her as the opposite of how she perceives it to be. When she frowns, he will "say she looks as clear / As morning roses" and when "she be mute and will not speak a word, / Then [he will] commend her volubility / And say she uttereth piercing eloquence" (Shakespeare 2.1, 169-72). By asserting to be true the opposite of what Katharina perceives, Petruchio intends to break her of her intuitive bond between the world as it is and theworld as it is communicated. He wishes to break Katharina's association between the world and its signifiers. Jacques Derrida, in his essay "Structure, Sign, and Play in the Discourse of the Human Sciences," suggests that there is a structure that does not change, beneath a layering of words and concepts that do change (Derrida 879). Petruchio is aware of the relative independence of words from objects, or actions. He is in a position of power over Katharina who relies on the existence of a complete linguistic sign.Petruchio is not only destabilizing Katharina's perception of the world around her, but he is also misrepresenting her. Petruchio asserts the opposite of how Katharina is perceived by the other characters in the play. When speaking to her father, Petruchio states that Katharina is "not froward, but modest as the dove. / She is not hot, but temperate as the morn" (Shakespeare 2.1, 286-7). There is no apparent change in Katharina's attitude and nothing she has done validates his assertion that she is now sweet and "temperate" (Shakespeare 2.1, 287). Petruchio is creating a reality using nothing but words and imposing it on to the other characters in the play. His asserted reality is taken so far, that it traps Katharina into a marriage against her will. Katharina makes it clear to her father, and to Petruchio, that she does not want to marry Petruchio. Yet when Petruchio tells Baptista that they "have Îgreed so well together / That upon Sunday is the wedding day" (Shakespeare 2.1, 290-1), Baptista readily accepts Petruchio's invented reality over his daughters expressed wishes, and the wedding is set.In order to disassociate, for Katharina, the intuitive assumption that appearances and words have a structural attachment to something real, Petruchio dresses in a way that is opposed to what is expected, and he says the opposite of the truth. Petruchio then moves from demonstration to imposition and attempts to dress Katharina as he wishes. Katharina guesses correctly when she says to Petruchio, "you mean to make a puppet of me" (Shakespeare 4.3, 103). He has set up his invented reality and made it clear that he will act according to his invented customs and perceptions despite the other characters in the play. Petruchio now begins to force Katharina toacknowledge his reality over the one she perceives. Weakened by lack of sleep and food, Katharina, in her last attempt to defend her vision of reality, refuses to be dressed by Petruchio. It is the last time she speaks of the connection between her words and a passion or an emotion she feels: "My tongue will tell the anger of my heart, / Or else my heart, concealing it, will break" (Shakespeare 4.3, 77-8); she never expresses her anger and her utterances become shorter and shorter as Petruchio wins control of them.Petruchio constructs a separate reality that works independently of any form of objective reality. It is fair to say that Petruchio has invented a cage to keep Katharina once she is caught. In Petruchio's created world, Katharina will be dependant on him for guidance because it is a world of arbitrary signifiers. Katharina becomes dependant on Petruchio at the same time the word "say" comes to have more validation than the word "know." It is day when Petruchio says "it is the moon that shines so bright," and Katharina responds to him by saying "I know it is the sun that shines so bright" (Shakespeare 4.5, 5-6). He has her trapped, if she does not agree with him he will punish her. Katharina relinquishes what she "knows" in favor of what he "says": "I say it is the moon" and Katharina responds with "I know it is the moon" (Shakespeare 4.5, 16-17). Katharina does not try to argue or fight with Petruchio, instead she easily accepts his worded perception over what she knows to be true. He leads her back and forth, from the reality she perceives to the reality he asserts. He addresses Vincentio as a "gentle mistress" and urges Katharina to do the same, and when she has done so, he drags her back by saying Vincentio "is a man, old, wrinkled, faded, withered" (Shakespeare 4.5, 42).Petruchio succeeds in separating the signifier from the signified. He succeeds in creating a situation in which Katharina depends on him for clues on how his world is currently being perceive. Katharina learned well from Petruchio how to separate the meaning from an utterance. She demonstrates how well she can say it is night when it is day, and how she has learned to say an old man is a young maiden, and then an old man again. But in a world where there is noaccordance between what is said and what is felt or perceived, the spoken word loses its value. Katharina can say what she pleases without any care for meaning. With this in mind, it is hard to tell if Petruchio's plan to "tame" her has worked, or if it has set her free.Works CitedDerrida, Jacques. "Structure, Sign, and Play in the Discourse of the Human Sciences." The Critical Tradition: Classic Texts andContemporary Trends. Ed. David H. Richter. 2nd ed. Boston: Bedford Books, 1998. 878-889.Saussure, Ferdinand de. "Nature of the Linguistic Sign." The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Richter. 2nd ed. Boston : Bedford Books, 1998. 832-835.Shakespeare, William. The Taming of the Shrew. Ed. Frances E. Dolan. Boston : Bedford Books, 1996.Sonne, Harly. "Literature: Madness and Literature; Psychiatry and Criticism." Approaches to Discourse, Poetics, and Psychiatry. Eds. Iris M. Zavala et al. 4 vols. Philadelphia : John Benjamins, 1987. 223-233.Rosenbaum, Bent. "The Discourse of Psychosis and the Process of Listening." Approachesto Discourse, Poetics, and Psychiatry. Eds. Iris M. Zavala et al. 4 vols. Philadelphia : John Benjamins, 1987. 201-213.Van Dijk, Teun A. ""Pragmatics and Poetics." Pragmatics of Language and Literature. Eds. Teun A. Van Dijk and William O. Hendricks. 2 vols. Amsterdam : North-Holland, 1976.1: 23-57。

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