查询词典 Japanese lantern

The Irish name for these lanterns was "Jack with the lantern" or"Jack of the lantern," abbreviated as " Jack-o'-lantern" and nowspelled "jack-o-lantern."

这种灯笼的爱尔兰名字是"拿灯笼的杰克"或者"杰克的灯笼"，缩写为Jack-o'-lantern？在拼写为jack-o-lantern。

Then changes into again the interest according to the forward rate the Japanese Yen, 6 month-long forward rate agio values are 1.90 that exchange rate are 140.00 - 1.90 =138.10, 80,000 US dollars are multiplied by 138.1 = 11,048,000 Japanese Yen, subtracts 140,000,000 Japanese Yen = 140,000,000 to be multiplied by 12% again in the Japanese deposit interest to divide 2 = 8,400,000 Japanese Yen, finally 2,648,000 Japanese Yen.

然后再把利息按照远期汇率换成日元，6个月的远期汇率贴水值是1.90那汇率就是140.00-1.90=138.10，8万美元乘以138.1=1104.8万日元，再减去1.4亿日元在日本存款的利息=1.4亿乘以12%除以2=840万日元，最后得264.8万日元。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

Pumpkins are also a symbol of Halloween46; The pumpkin is an orange-colored squash, and orange has become the other traditional Halloween color46; Carving pumpkins into jack- o'-lanterns is a Halloween custom also dating back to Ireland46; A legend grew up about a man named Jack who was so stingy that he was not allowed into heaven when he died, because he was a miser46; He couldn't enter hell either because he had played jokes on the devil46; As a result, Jack had to walk on the earth with his lantern until Judgement Day46; So Jack and his lantern became the symbol of a lost or damned soul46; To scare these souls away on Halloween, the Irish people carved scary faces out of turnips, beets or potatoes representing "Jack of the Lantern," or Jack-o-lantern46; When the Irish brought their customs to the United States, they carved faces on pumpkins because in the autumn they were more plentiful than turnips46; Today jack-o-lanterns in the windows of a house on Halloween night let costumed children know that there are goodies waiting if they knock and say "Trick or Treat!"

南瓜也是万圣节的标志性象征。南瓜是橘黄色的，所以橘黄色也成了传统的万圣节颜色。用南瓜雕制南瓜灯也是一个万圣节传统，其历史也可追溯到爱尔兰。传说有一个名叫杰克的人非常吝啬，因而死后不能进入天堂，而且因为他取笑魔鬼也不能进入地狱，所以，他只能提着灯笼四处游荡，直到审判日那天。于是，杰克和南瓜灯便成了被诅咒的游魂的象征。人们为了在万圣节前夜吓走这些游魂，便用芜菁、甜菜或马铃薯雕刻成可怕的面孔来代表提着灯笼的杰克，这就是南瓜灯（Jack-o'-lantern）的由来。爱尔兰人迁到美国后，便开始用南瓜来进行雕刻，因为在美国秋天的时候南瓜比芜菁更充足。现在，如果在万圣节的晚上人们在窗户上挂上南瓜灯就表明那些穿着万圣节服装的人可以来敲门捣鬼要糖果。

However, most people lantern reveries, I am afraid that is still looking forward to the Lantern Festival lantern.

不过，灯笼最让人遐思、期盼恐怕还是元宵节的花灯了。

So to use your examples, if you lucidly created a Japanese teacher to come teach you Japanese, you would get what sounds like Japanese to you, but which would probably not be real Japanese since your subconscious and conscious minds don't know Japanese.

看看你的例子吧：如果你在清醒的梦中梦到一个日本老师在教你日语，你会听到一些你觉得像是日语的声音。但是这些不是真正的日语，因为你大脑并不知道日语。

From some theories, especially the theory of marginal industrial expansion, we can learn the motive of Japanese direct investment in China. On the basis of the motive, The essay analyzes some investment strategy, such as, export - process - basis type strategy, market - merge type strategy and so on. In the third part, it analyzes the decision process of Japanese direct investment in China, the psychal behavior characteristic of investment, also the confirmation of region . Futhermore, it analyzes the direct investment of Japanese in detail. The fourth part is the relationship between Japanese direct investment in China and China - Japan trade. The datum of theory and practice explain that Japanese direct investment in China promotes bilateral trade and improves the trade structure.

从理论上，尤以小岛清的边际产业扩张理论为重点，说明日本对华直接投资的动机，并按动机把日本对华直接投资的战略类型如出口加工基地型、市场参与型等战略作了分析；第三部分：论述日本对华直接投资的决策过程，日本企业的投资心理行为特征以及投资区位的确定等，并且较为具体地分析日本中小企业的对华直接投资；第四部分：日本对华直接投资和中日贸易的关系。

Ye Wen a life hard, but the leaf asked that still positively faced, as soon as changes the son from a wealthy family the manner, to the coal factory works as the coolie, relies on one's own effort to revive. Japanese general three pu are one military crazy, he takes the reward by the rice, invites the Chinese to strike the field and the Japanese forces compares notes, observes and emulates the Chinese martial arts. Ye Wen good friend Wu Chilin is striking the field to shoot by the Japanese forces, does not know the circumstances of the matter Ye Wenwei seeks for Wu Chilin to arrive strikes the field. Witnessed that the Japanese forces murder process, Ye Wen the grief and indignation gives vent to finally the heart, by an enemy ten, attacks fiercely the Japanese!

此时中日战争爆发，不久佛山沦陷叶家宅院被日军强占，被迫搬到废屋居住叶问一家生活艰苦，但叶问仍积极面对，一改阔少的态度，到煤炭厂当苦力，自力更生日本将军三蒲是一名武痴，他以白米作为奖赏，邀请中国人到擂场与日军切磋，藉此观摩中国武术叶问的好友武痴林在擂场被日军枪毙，不知情的叶问为寻找武痴林来到擂场目睹日军杀人过程，叶问终於把心中悲愤发泄出来，以一敌十，痛击日本人！

Mao not only the Chinese big bourgeoisie and the capitalist class is divided into two parts, the national bourgeoisie, but again the big bourgeoisie is divided into pro-Japanese and Anglo-American faction factions; not only that the national bourgeoisie have a revolution and the two sides to compromise, and that Britain and the United States to send the big bourgeoisie is also the two sides of the anti-Japanese and anti-communist, and anti-Japanese and anti-communist and each of its two sides; and based on the distinction between the two sides of the above understanding of Mao Zedong with the various parts of the development of the bourgeoisie and the struggle against a series of joint and differentiated policy so as to achieve, consolidate and develop the anti-Japanese national united front and the second KMT-CPC cooperation, for all the final victory of the Anti-Japanese War, laid a solid theoretical foundation and basis of a policy.

毛泽东不仅把中国资产阶级分为大资产阶级和民族资产阶级两部分，而且又把大资产阶级分为亲日派和英美派两派；不仅认为民族资产阶级有革命和妥协的两面性，而且认为英美派大资产阶级也有抗日和反共的两面性，而抗日和反共又各有其两面性；基于上述区分和对两面性的认识，毛泽东制定了同各部分资产阶级又联合又斗争的一系列有区别的政策，从而为实现、巩固和发展抗日民族统一战线和第二次国共合作，为全民抗战的最后胜利，奠定了坚实的理论基础和政策基础。

Panorama Many people are dancing in a large sitting room.

在一个大客厅里，许多人在跳舞。

We fully understand how a microwave oven cooks food, it is first necessary to talk ...

我们充分理解一个微波炉煮的食物，这是首先要谈。。。