威尔与格蕾丝 Will & Grace ; Will and Grace ; Will &
海明威与盖尔霍恩 Hemingway & Gellhorn ; Hemingway amp Gellhorn ; Hemingway ; Nicole Kidman
宁芙与萨堤尔 Nymphs and Satyr
凯恩与阿贝尔 Kane and Abel
梅尔文与霍华德 Melvin and Howard
杰克与吉尔 Jack and Jill ; Jack n Jill
哈兰德与沃尔夫造船厂 Harland and Wolff
与尔同销万古愁 i'm walking in the rain
特里斯坦与伊索尔德 Tristan und Isolde ; Tristan et Iseult ; Liebestod
摩尔艺术与设计学院 Moore College of Art and Design
他与安德鲁·布洛尔斯合著了《透过核废料看国际政治》。
He is coauthor, with Andrew Blowers, of "The International Politics of Nuclear Waste."
与购买已故的阿尔弗雷德·史蒂格利茲的两件重要作品所支付的费用相比,这些价格就变得微不足道了。
These prices pale into insignificance when compared with what was paid for two major works by the late Alfred Stieglitz.
他在1992年的影片《超级战警》中扮演了一个与西尔维斯特·史泰龙敌对的反面主角。
He also played a villain opposite Sylvester Stallone in Demolition Man (1992).
And Milton uses the language of these two parables to get at this problem that has resonances in every conceivable sphere.
弥尔顿用这两则寓言来解释,可以想象出的与此有共鸣的问题。
So the distance of the gap needs to be between the outer limits of boredom and overstrain according to Iser.
因此,据伊瑟尔说,间隙的大小应该,以无聊与过劳作为外缘界限,处于两者之中。
Why this struggle, and why must Milton struggle with such awkward metaphysical categories in order simply to address properly the power of light?
为什么弥尔顿必须,与这样一个奇怪的抽象的东西斗争,仅仅是为了恰当的描述光明的力量?
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