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So what we have in the first few chapters of Genesis are two creation stories that have distinctive styles, distinctive themes, distinctive vocabularies and they're placed side by side.
所以在《创世纪》的前几章中，我们有两个不同的故事,风格，主题，用语,都有自己的特色。
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At one level, you might say there is an important difference in style that you will see almost immediately.
在一个层面上,你可能会说有个重要的差别是风格,我们马上就会看到。
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Second thing we've been doing, I want to highlight for you is, we've along the way, mostly just verbally rather than writing it down, but we've been talking about good style.
我们一直在学的第二件事情是,我想给大家强调下，我们一直在口头上说，而没有把它写下来，但是我们一直在说优秀的风格。
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Yeats's sense of his own implication in history, well, it's something that we see in the intensive, stylistic transformations that his writing undergoes.
就是叶芝对历史的想法，这就是我们看到的，他的彻底的风格上的改变,他的写作风格的改变。
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Having talked just a little bit about genres, we could conclude by saying there are other kinds of genres in music of course.
通过对音乐风格进行探讨,我们可以断定,在古典乐中,还有其他风格的音乐存在
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Turning then to a passage in a very different tone from James's Ambassadors.
接下来我们来看另外一篇风格迥异的文章,詹姆斯的《大使》
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He says someone with a flair for cocktail party conversation, a witticism, would say this. He gives it to us, but he frames it as an affectation of style.
他说在一个鸡尾酒派对上交谈的调酒师，这是妙语，他给我们了，但是他将其用娇柔做作的风格包装起来。
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It's been drawn out and spatialized. It's as if it's been spatialized into a scene of a beautiful summer's day, and we're left contemplating not the punishment of evil but - I don't know, one of the things we're left contemplating is the sheer beauty of Homeric poetry.
这被描绘出并且空间化了，成为一个,美丽夏日的景象，我们被留予思考的,不是对邪恶的惩罚而是,-我不知道，我们被留予思考的,是荷马风格史诗的十足美好。
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We finished with this idea of the genre, of the four movements, so then let's go on to talk about the piano concerto.
我们讲完这种风格和它的四个乐章,下面要探讨的是钢琴协奏曲
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So tone poems are one in movement, and we have got other kinds of genres in music.
交响诗都是单乐章的,所以我们又了解到一种音乐风格
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OK. The other thing I want to say here, is that this style of program we just wrote is actually a very common one. And we're going to give it a nice little name, often referred to as exhaustive enumeration.
好，另外一件我想说的事情是，刚才我们写的代码的风格,是非常普通的,我们会给这个风格一个名字，通常是被称为详尽的列举。
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So those are the three pieces and the issues there had to do with musical genre that we're going to talk a little bit more about in a moment, and the instruments.
就是这三首乐曲,与它们的音乐风格相关的知识,我们接下来会进一步探讨,还有关于乐器的知识
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You might think of walking in here expecting Professor Hungerford on censorship and getting me instead. But this is a very important idea for Nabokov both as a way of treating predecessors and as a way of writing. And I want to show you that way of writing very early in the book on page 10 now. Let's take a look at that.
你们可能期待亨格福特教授走上讲台,取代我讲审查制度，但这对纳博科夫而言,是非常重要的对待前辈和写作的方法,接下来，我将向你们展示,他的写作风格，在这本书的很前面，第10页，我们一起看一下。
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Well, those sorts of answers, those sorts of issues, are the sorts of things that we'll get to when we come to the question of musical style toward the end of the course.
这一系列答案 一系列议题,我们都会在接近课程结束之时的,音乐风格问题中进行探讨
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Meaning, we're going to try to help you with how to develop good programming style, but you need to write in a way in which it is going to be easy for you to spot the places that cause those semantic bugs to occur.
这意味着我们会帮助你,形成良好的编程风格，但是你需要去以一种,容易发现,程序中,容易发生语义bug的地方的方式去写代码。
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