⑴ CITYSCAPESLVX是什么品牌的衣服
没有品牌的衣服，衣服还是属于田园风拼接连衣裙...
⑵ 麻烦帮翻译下急用谢谢了
这篇文章是关于steal mesh在建筑业上的应用。不是很理解原文的精髓。总之一个感觉就是 生涩 难懂。有些地方基本是“差之毫厘 谬之千里”的感觉。完全不是那么回事，不过大体上差不多
正文
城市建筑本身的社会意义始终是跨界争论的焦点议题。 景观规划师，建筑师，社会学家，设计者和土木工程师都在一致呼吁建筑业应该有更多大胆且主动的尝试。以此来振兴建筑业，创造更多的建筑物，让人们在传播文化，工作，生活的过程中享受它们带来的魅力。钢铁水泥是建筑业的两大要素，新的创意和解决方案依托钢筋混凝土这种建筑材料迅速成型，并得以实现。其中，不锈钢筛网这种材料有着鲜明的建筑学特性：变化多端和持久不变，这看似矛盾，却是其他材料无可比拟的。多样的几何审美学构造使得这种建筑材料映射出了以不变应万变的自然哲学和社会哲学。
不锈钢织网的特征主要有：稳定 透光 柔韧 反光 可塑性强。
服役年限不受限制，可重复回收利用，这些都符合智能设施管理所要求的长期保值原则。抗风化和抗腐蚀材料的使用年限很长，而期间只需简单的护理即可。 建筑师Norman Foster历来主张人人有权利享受阳光。如此说来，不锈钢筛网前墙就可以称之为“阳光工程”或者“光建筑”，因为光是建筑物的主要审美因素。纵向的细丝和横向的单纤维赋予了其张力，Helmut Jahn使用了5800平方米的前墙筛网结构装饰位于科隆波恩机场的欧洲最大的停车场。这种材料赋予了St. Anton火车站的农艺特质，Dominique Perrault设计建造的自行车赛场以及柏林的室内泳池也是如此。灵活的可塑性使得它能适应各种形状的建筑，甚至是圆形的也不在话下。
在建筑界，大型商务楼和社会公共建筑采用透明构造被认为是主流趋势。它不仅提供光线而且还有助于展示现代企业的自我形象---开放和沟通，强烈的金属质感和高科技的优雅气息，散发着蓬勃发展和一切尽在掌握的气质。建筑师Jahn设计的柏林索尼中心的双层建筑外墙采用玻璃和不锈钢筛网建造，用GKD布景呈现出五彩的社会熔炉，映出电子企业的公司形象。
⑶ 求psp游戏寄生前夜：第三次生日开头音乐
网页链接在网易云查这个主播电台Chao Ma游戏音乐 然后倒序排列就找到了
⑷ 求一篇人物传记，英文的
上google里面搜索Edward Hopper
维基网络（Wikipedia）里就有介绍
或
"Edward Hopper, the best-known American realist of the inter-war period, once said: 'The man's the work. Something doesn't come out of nothing.' This offers a clue to interpreting the work of an artist who was not only intensely private, but who made solitude and introspection important themes in his painting.
"He was born in the small Hudson River town of Nyack, New York State, on 22 July 1882. His family were solidly middle-class: his father owned a dry goods store where the young Hopper sometimes worked after school. By 1899 he had already decided to become an artist, but his parents persuaded him to begin by studying commercial illustration because this seemed to offer a more secure future. He first attended the New York School of Illustrating (more obscure than its title suggests), then in 1900 transferred to the New York School of Art. Here the leading figure and chief instructor was William Merritt Chase (1849-1916), an elegant imitator of Sargent. He also worked under Robert Henri (1869-1929), one of the fathers of American Realism - a man whom he later described as 'the most influential teacher I had', adding 'men didn't get much from Chase; there were mostly women in the class.' Hopper was a slow developer - he remained at the School of Art for seven years, latterly undertaking some teaching work himself. However, like the majority of the young American artists of the time, he longed to study in France. With his parents' help he finally left for Paris in October 1906. This was an exciting moment in the history of the Modern movement, but Hopper was to claim that its effect on him was minimal:
Whom did I meet? Nobody. I'd heard of Gertrude Stein, but I don't remember having heard of Picasso at all. I used to go to the cafés at night and sit and watch. I went to the theatre a little. Paris had no great or immediate impact on me.
"In addition to spending some months in Paris, he visited London, Amsterdam, Berlin and Brussels. The picture that seems to have impressed him most was Rembrandt's The Night Watch (in the Rijksmuseum, Amsterdam). Hopper was able to repeat his trip to Europe in 1909 and 1910. On the second occasion he visited Spain as well as France. After this, though he was to remain a restless traveller, he never set foot in Europe again. Yet its influence was to remain with him for a long time: he was well read in French literature, and could quote Verlaine in the original, as his future wife discovered (he was surprised when she finished the quotation for him). He said later: '[America] seemed awfully crude and raw when I got back. It took me ten years to get over Europe.' For some time his painting was full of reminiscences of what he had seen abroad. This tendency culminates in Soir Bleu of 1914, a recollection of the Mi-Caréme carnival in Paris, and one of the largest pictures Hopper ever painted. It failed to attract any attention when he showed it in a mixed exhibition in the following year, and it was this failure which threw him back to working on the American subjects with which his reputation is now associated. In 1913 Hopper made his first sale - a picture exhibited at the Armory Show in New York which brought together American artists and all the leading European modernists. In 1920 he had his first solo exhibition, at the Whitney Studio Club, but on this occasion none of the paintings sold. He was already thirty-seven and beginning to doubt if he would achieve any success as an artist - he was still forced to earn a living as a commercial illustrator. One way round this dilemma was to make prints, for which at that time there was a rising new market. These sold more readily than his paintings, and Hopper then moved to making watercolours, which sold more readily still.
"Hopper had settled in Greenwich Village, which was to be his base for the rest of his life, and in 1923 he renewed his friendship with a neighbour, Jo Nivison, whom he had known when they were fellow students under Chase and Henri. She was now forty; Hopper was forty-two. In the following year they married. Their long and complex relationship was to be the most important of the artist's life. Fiercely loyal to her husband, Jo felt in many respects oppressed by him. In particular, she felt that he did nothing to encourage her own development as a painter, but on the contrary did everything to frustrate it. 'Ed,' she confided to her diary, 'is the very centre of my universe... If I'm on the point of being very happy, he sees to it that I'm not.' The couple often quarrelled fiercely (an early subject of contention was Jo's devotion to her cat Arthur, whom Hopper regarded as a rival for her attention). Sometimes their rows exploded into physical violence, and on one occasion, just before a trip to Mexico, Jo bit Hopper's hand to the bone. On the other hand, her presence was essential to his work, sometimes literally so, since she now modelled for all the female figures in his paintings, and was adept at enacting the various roles he required.
"From the time of his marriage, Hopper's professional fortunes changed. His second solo show, at the Rehn Gallery in New York in 1924, was a sell-out. The following year, he painted what is now generally acknowledged to be his first fully mature picture, The House by the Railroad. With its deliberate, disciplined spareness, this is typical of what he was to create thereafter. His paintings combine apparently incompatible qualities. Modern in their bleakness and simplicity, they are also full of nostalgia for the puritan virtues of the American past - the kind of quirky nineteenth-century architecture Hopper liked to paint, for instance, could not have been more out of fashion than it was in the mid-192OS, when he first began to look at it seriously. Though his compositions are supposedly realist they also make frequent use of covert symbolism. Hopper's paintings have, in this respect, been rather aptly compared to the realist plays of Ibsen, a writer whom he admired.
"One of the themes of The House by the Railroad is the loneliness of travel, and the Hoppers now began to travel widely within the United States, as well as going on trips to Mexico. Their mobility was made possible by the fact that they were now sufficiently prosperous to buy a car. This became another subject of contention between the artist and his wife, since Hopper, not a good driver himself, resisted Jo's wish to learn to drive too. She did not acquire a driving licence until 1936, and even then her husband was extremely reluctant to allow her control of their automobile.
"By this time Hopper, whose career, once it took off, was surprisingly little affected by the Depression, had become extremely well known. In 1929, he was included in the Museum of Modern Art's second exhibition, Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection, as a gift from the millionaire collector Stephen Clark. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time. In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney.
"Hopper became a pictorial poet who recorded the starkness and vastness of America. Sometimes he expressed aspects of this in traditional guise, as, for example, in his pictures of lighthouses and harsh New England landscapes; sometimes New York was his context, with eloquent cityscapes, often showing deserted streets at night. Some paintings, such as his celebrated image of a gas-station, Gas (1940), even have elements which anticipate Pop Art. Hopper once said: 'To me the most important thing is the sense of going on. You know how beautiful things are when you're travelling.'
"He painted hotels, motels, trains and highways, and also liked to paint the public and semi-public places where people gathered: restaurants, theatres, cinemas and offices. But even in these paintings he stressed the theme of loneliness - his theatres are often semideserted, with a few patrons waiting for the curtain to go up or the performers isolated in the fierce light of the stage. Hopper was a frequent movie-goer, and there is often a cinematic quality in his work. As the years went on, however, he found suitable subjects increasingly difficult to discover, and often felt blocked and unable to paint. His contemporary the painter Charles Burchfield wrote: 'With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living.' When the link between the outer world he observed and the inner world of feeling and fantasy broke, Hopper found he was unable to create.
"In particular, the rise of Abstract Expressionism left him marooned artistically, for he disapproved of many aspects of the new art. He died in 1967, isolated if not forgotten, and Jo Hopper died ten months later. His true importance has only been fully realized in the years since his death."
⑸ 求一下这张图的1920X1080的尺寸
这张原作者放上网的就只有1400×986 如下，满意请采纳
⑹ 有关维米尔的翻译
Johannes, Jan or Johan Vermeer (baptized on 31 October 1632 as Johannis, and buried in the same city under the name Jan on 16 December 1675) was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of middle class life. Vermeer was a moderately successful provincial genre painter in his lifetime. He seems never to have been particularly wealthy, leaving his wife and children in debt at his death, perhaps because he proced relatively few paintings.[1]
Vermeer worked slowly and with great care, using bright colours, sometimes expensive pigments, with a preference for cornflower blue and yellow. He is particularly renowned for his masterly treatment and use of light in his work. [2]
Recognized ring his lifetime in Delft and The Hague, his modest celebrity gave way to obscurity after his death; he was barely mentioned in Arnold Houbraken's major source book on 17th century Dutch painting (Grand Theatre of Dutch Painters and Women Artists), and was thus omitted from subsequent surveys of Dutch art for nearly two centuries.[3][4] In the 19th century Vermeer was rediscovered by Gustav Friedrich Waagen and Thoré Bürger, who published an essay attributing sixty-six pictures to him, (although only thirty-five paintings are firmly attributed to him today). Since that time Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age
Life
Delft in 1652, by cartographer Willem BlaeuRelatively little is known about Vermeer's life. He seems to have been exclusively devoted to his art, living out his life in the city of Delft. The only sources of information are some registers, a few official documents and comments by other artists; it was for this reason that Thoré Bürger named him "The Sphinx of Delft".[5]
Youth
On October 31, 1632, Johannes was baptized in the Reformed Church.[6][7] His father, Reijnier Janszoon, was a middle-class worker of silk or caffa (a mixture of silk and cotton or wool).[Note 1] As an apprentice in Amsterdam Reijnier lived in the fashionable Sint Antoniebreestraat, then a street with many resident painters. In 1615 he married Digna Baltus, and in 1620 Reijner and his wife had a daughter, who was baptized as Gertruy.[Note 2] In 1625 Reijnier was involved in a fight with a soldier named Willem van Bylandt, who died from his wounds five months later.[8] Around the same time Reijnier started to deal in paintings, but in 1631 he leased an inn called "The Flying Fox". In 1641 he bought a larger inn at the market square, named after the Belgian town "Mechelen". The acquisition of the inn constituted a considerable financial burden.[Huerta 1] When Vermeer's father died in 1652, Vermeer replaced him as a merchant of paintings.
Marriage and family
View of Delft (1660–61)In Johannes Reijniersz Vermeer married a Catholic girl named Catherina Bolnes. The blessing took place in a nearby and quiet village Schipluiden.[Note 3] For the groom it was a good match. His mother-in-law, Maria Thins, was significantly wealthier than he, and it was probably she who insisted Vermeer convert to Catholicism before the marriage on April 5.[Note 4] Some scholars doubt that Vermeer became Catholic, but one of his paintings, The Allegory of Catholic Faith, made between 1670 and 1672, reflects the belief in the Eucharist. Liedtke suggests it was made for a Catholic patron, or for a schuilkerk, a hidden church.[Liedtke 1] At some point the couple moved in with Catherina's mother, who lived in a rather spacious house at Oude Langendijk, almost next to a hidden Jesuit church[Note 5]. Here Vermeer lived for the rest of his life, procing paintings in the front room on the second floor. His wife gave birth to 14 children: four of whom were buried before being baptized, but were registered as "child of Johan Vermeer". From wills written by relatives, ten names are known: Maria, Elisabeth, Cornelia, Aleydis, Beatrix, Johannes, Gertruyd, Franciscus, Catharina, and Ignatius.[Montias 1] Quite a few have a name with a religious connotation and it is very likely that the youngest, Ignatius, was named after the founder of the Jesuit order.
Career
The Milkmaid (c. 1658)
The Astronomer (c. 1668)It is not certain where Vermeer was apprenticed as a painter, nor with whom, but it is generally believed that he studied in his home town. While Vermeer owned some paintings or drawings by Carel Fabritius it was suggested that Fabritius was his teacher. The local authority, Leonaert Bramer, acted as a friend but their style of painting is rather different.[9] Liedtke suggests Vermeer taught himself and had information from one of his father's connections.[Liedtke 2] Some scholars think Vermeer was trained under the Catholic painter Abraham Bloemaert. Vermeer worked in a similar style as some of the Utrecht Carravagists. In Delft Vermeer probably competed with Pieter de Hoogh and Nicolaes Maes who proced genre works in a similar style.
On December 29, , Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records make clear Vermeer did not pay the usual admission fee. It was a year of plague, war and economic crisis; not only Vermeer's financial circumstances were difficult. In 1654, the city of Delft suffered the terrible explosion known as the Delft Thunderclap that destroyed a large section of the city. [10] In 1657 he might have found a patron in the local art collector Pieter van Ruijven, who lent him some money. In 1662 Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he (like Bramer) was considered an established craftsman among his peers. Vermeer worked slowly, probably procing three paintings a year, and on order. When Balthasar de Monconys visited him in 1663 to see some of his work, the diplomat and the two French clergymen who accompanied him were sent to Hendrick van Buyten, a baker.
In 1672 a severe economic downturn (the "Year of Disaster") struck the Netherlands, after Louis XIV and a French army invaded the Dutch Republic from the south (known as the Franco-Dutch War). Not only the French burned and robbed country estates. During the Third Anglo-Dutch War an English fleet, and two allied German bishops attacked the country from the east, tried to destroy the countries hegemony. Many people panicked; courts, theaters, shops and schools were closed, and five years passed before circumstances improved. In the Summer of 1675 Vermeer borrowed money in Amsterdam, using his mother-in-law as a lien.
In December 1675 Vermeer fell into a frenzy and suddenly died, within a day and a half. Catharina Bolnes attributed her husband's death to the stress of financial pressures. The collapse of the art market damaged Vermeer's business as both a painter and an art dealer. She, having to raise 11 children, asked the High Court to allow her a break in paying the creditors.[Montias 2] The Dutch microscopist Antonie van Leeuwenhoek, who worked for the city council as a surveyor, was appointed trustee. The house, with eight rooms on the first floor, was filled with paintings, drawings, clothes, chairs and beds. In his atelier there were rummage not worthy being itemized, two chairs, two painter's easels, three palettes, ten canvases, a desk, an oak pull table and a small wooden cupboard with drawers.[Montias 3] Nineteen of Vermeer's paintings were bequeathed to Catherina and her mother, and the widow sold two other paintings to the Hendrick van Buyten in order to pay off quite a debt.
Vermeer had been a respected artist in Delft, but he was almost unknown outside his home town. The fact that a local patron, Pieter van Ruijven, purchased much of his output reced the possibility of his fame spreading.[Note 8] Vermeer never had any pupils; his relatively short life, the demands of separate careers, and his extraordinary precision as a painter all help to explain his limited oeuvre.
Style
The Girl with the Wineglass (c. 1659)
Girl With a Pearl Earring (1665), considered a Vermeer masterpieceVermeer proced transparent colours by applying paint to the canvas in loosely granular layers, a technique called pointillé (not to be confused with pointillism). No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods. David Hockney, among other historians and advocates of the Hockney-Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects which would result from the use of such lenses and not the naked eye alone. The extent of Vermeer's dependence upon the camera obscura is disputed by historians.
There is no other seventeenth century artist who early in his career employed, in the most lavish way, the exorbitantly expensive pigment lapis lazuli, or natural ultramarine. Vermeer not only used this in elements that are naturally of this colour; the earth colours umber and ochre should be understood as warm light within a painting's strongly-lit interior, which reflects its multiple colours onto the wall. In this way, he created a world more perfect than any he had witnessed.[Liedtke 3] This working method most probably was inspired by Vermeer’s understanding of Leonardo’s observations that the surface of every object partakes of the colour of the adjacent object This means that no object is ever seen entirely in its natural colour.
A comparable but even more remarkable, yet effectual, use of natural ultramarine is in The Girl with a Wineglass. The shadows of the red satin dress are underpainted in natural ultramarine, and, owing to this underlying blue paint layer, the red lake and vermilion mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful.
Even after Vermeer’s supposed financial breakdown following the so-called rampjaar (year of disaster) in 1672, he continued to employ natural ultramarine generously, such as in Lady Seated at a Virginal. This could suggest that Vermeer was supplied with materials by a collector, and would coincide with John Michael Montias’ theory of Pieter Claesz van Ruijven being Vermeer’s patron.
Vermeer painted mostly domestic interior scenes. His works are largely genre pieces and portraits, with the exception of two cityscapes and two allegories. His subjects offer a cross-section of seventeenth century Dutch society, ranging from the portrayal of a simple milkmaid at work, to the luxury and splendour of rich notables and merchantmen in their roomy houses. Besides these subjects, religious, poetical, musical, and scientific comments can also be found in his work.
Works
The Music Lesson or A Lady at the Virginals with a Gentleman, c. 1662-65; VermeerSee also: List of paintings by Johannes Vermeer and Category:Vermeer paintings
Only three paintings are dated: The Procuress (1656, Dresden, Gemäldegalerie), The Astronomer (1668, Paris, Louvre), and The Geographer (1669, Frankfurt, Städelsches Kunstinstitut). Two pictures are generally accepted as earlier than The Procuress; both are history paintings, painted in a warm palette and in a relatively large format for Vermeer — Christ in the House of Mary and Martha (Edinburgh, National Gallery) and Diana and her Companions (The Hague, Mauritshuis).
Vermeer's mother-in-law, Maria Thins, owned Dirck van Baburen's 1622 oil-on-canvas Procuress (or a of it), which appears in the background of two of Vermeer's paintings. The same subject was also painted by Vermeer. After his own The Procuress almost all of Vermeer's paintings are of contemporary subjects in a smaller format, with a cooler palette dominated by blues, yellows and greys. It is to this period that practically all of his surviving works belong. They are usually domestic interiors with one or two figures lit by a window on the left. They are characterized by a serene sense of compositional balance and spatial order, unified by a pearly light. Mundane domestic or recreational activities become thereby imbued with a poetic timelessness (e.g. Woman Reading a Letter at an Open Window, Dresden, Gemäldegalerie). To this period also have been allocated Vermeer's two townscapes, View of Delft (The Hague, Mauritshuis) and A Street in Delft (Amsterdam, Rijksmuseum).
A few of his paintings show a certain hardening of manner and these are generally thought to represent his late works. From this period come The Allegory of Faith (c 1670, New York, Metropolitan Museum) and The Letter (c 1670, Amsterdam, Rijksmuseum).
The often-discussed sparkling pearly highlights in Vermeer's paintings have been linked to his possible use of a camera obscura, the primitive lens of which would proce halation and, even more noticeably, exaggerated perspective. Such effects can be seen in Lady at the Virginals with a Gentleman (London, Royal Collection). Vermeer's interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals.
⑺ 戴珍珠耳环的少女英文赏析
Johannes Vermeer - Girl with a pearl earring
Why is the Girl with the pearl earring Vermeer’s best-loved painting? It must have something to do with the fact that the girl looks over her shoulder, as though hoping to see who is standing behind her. This draws the viewer into the picture, suggesting that he is the one who has made the girl turn her head.
Equally important, though, are Vermeer’s fresh colours, virtuoso technique and subtle rendering of light effects. The turban is enlivened, for example, with the small highlights that are Vermeer’s trademark. The pearl, too, is very special, consisting of little more than two brushstrokes: a bright accent at its upper left and the soft reflection of the white collar on its underside.
Then there is the girl herself, who gazes at us, wide-eyed, her sensual mouth parted. She makes an uninhibited, somewhat expectant impression that cannot help exciting our interest, even though we have no idea who she is.
View of Delft
This, the most famous painting by Vermeer, was part of the Amsterdam sale of 1696, no. 31: "The town of Delft in perspective, to be seen from the south, by J. van der Meer of Delft; fl 200." Sale S. J. Sinistra et al., Amsterdam; 1822, no. 112. For F 2,900 to de Vries. Purchased by the state of the Netherlands.
Topographic views of cities had become a tradition by the time Vermeer painted his famous canvas. Hendrik Vroom was the author of two such works depicting Delft, but they are more archaic because they followed the traditional panoramic approach that we remember from the two cityscapes by Hercules Seghers at the Berlin museum. The latter artist was one of the first to make use of the inverted Galilean telescope to transcribe the preliminary prints and their proportions (more than twice as high as wide) into the more conventional format of his paintings.
Vermeer executed his View of Delft on the spot, but the optical instrument pointed toward the city and providing the artist with the aspect translated onto canvas, which we admire for its conciseness and special structure, was not the camera obscura but the inverted telescope. It is only the latter that condenses the panoramic view of a given sector, diminishes the figures of the foreground to a smaller than normal magnification, emphasizes the foreground as we see it in the picture, and by the same token makes the remainder of the composition recede into space. The image thus obtained provides us with optical effects that, without being unique in Dutch seventeenth-century painting, as often claimed, convey a cityscape that is united in the composition and enveloped atmospherically into glowing light.
We admire the town, but it is not a profile view of a township, but a painting, an idealized representation of Delft, with its main characteristics simplified and then cast into the framework of a harbour mirroring selected reflections in the water, and a rich, full sky with magnificent cloud formations looming over it. This is chronologically the last painting by Vermeer that was executed in rich, full pigmentation, with colour accents put in with a fully loaded brush. The artist outdid himself in a rendition of his hometown, which stands as a truly great interpretation of nature.
⑻ 智能网联汽车数据集作用
这个是未来汽车发展的一个大趋势，在未来，各大牌会不断地将大数据、互联网、人工z能技术应用于汽车，从而实现人车语音互动、z能出行、车道偏离预警、手机远程控制等功能，而走在整个行业前列的就是国内最大的车联网博泰，作为国内为数不多拥有硬件、软件和云端能力的单位，在z能网联方面的成果有目共睹，创造出了众多汽车运用。望采纳，谢谢！
⑼ 翻译以下文字
This is the cartoon view, but it depicts a real change. It was an ecational revolution that was well-meant, benighly inspired by concern for our children and apparently, endorsed by some of the greatest minds of our age. Its ideal was to help children grow and its politics were egalitarian. With Shirley Williams ’ abolition of most grammar schools and the introction of comprehensives, the plan was in place.
这种教育改革灵感来自对我们后代善意和亲切的关注，并显然为我们这个时代的一些最伟大的思想家所赞同。改革的理想是帮助孩子们成长，政策上主张人人平等。随着 Shirley Williams 废除多数文法学校而纳入综合学校系统，教育改革计划得以确定。
What Smith and his followers cannot see is that reading is an artificial activity, an arbitrary code demanded by our culture.
史密斯和他的追随者所不能明白的是阅读是一种人为活动，一种我们文化要求的强制性行为准则。
⑽ 香港太平山的英语简历
If there is only one thing you can do in Hong Kong, go to The Peak. If you have many things to do here, still go to The Peak. The highest point on Hong Kong Island, this has been the city’s most exclusive neighbourhood since colonial times — back then it was the cooler air that attracted the rich and famous; in the post air-conditioning era, the views of one of the world's most spectacular cityscapes keep them coming.
The opening and closing scenes of the 1955 movie Soldier of Fortune, starring Clark Gable, were filmed in the Peak Tram. You can discover more about the Peak Tram's fascinating history at the Peak Tram Historical gallery, which is located at the Peak Tram Lower Terminus. hat view is also what makes The Peak one of the most popular attractions in Hong Kong. By day your eyes stretch across sparkling skyscrapers and Victoria Harbour all the way to the green hills of the New Territories. In early evening this panorama melts into pink and orange before reincarnating as a dazzling galaxy of light, shimmering beneath you. And if you listen carefully enough, you can hear Asia’s world city humming below.
The anvil-shaped The Peak Tower has a large viewing platform called Sky Terrace 428, in addition to dining and retail outlets. Nearby, The Peak Galleria has a free-entry observation deck, as well as shopping and dining options. More Head to Lugard Road Lookout and Lions Point View Pavilion for more stunning views. For leisurely unfolding vistas, take the 3.5-kilometre Peak Circle Walk.
Riding the Peak Tram is a visual experience in its own right Hong Kong Island's skyscrapers slide past your window at what appear to be impossible angles as you make the ascent to The Peak on the city's historic, funicular railway.