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In fact , the overall pattern of her progress is quite satisfactory.
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Margie made a face. “School? What's there to write about school? I hate school.” Margie always hated school , but now she hated it more than ever. The mechanical teacher had been giving her test after test in geography. She had been doing worse and worse. In the end , her mother had shaken her head sadly and sent for the County Inspector. He was a little man with a red face. He had a whole box of tools with dials and wires. He smiled at her and gave her an apple. Then he took the teacher apart. Margie had hoped he wouldn't know how to put it together again. But he knew how , all right. After an hour or so , there it was again - large and black. It had a big screen , on which all the lessons were shown and the questions were asked. That wasn't so bad. The part which she hated most was the slot where she had to put the homework and test papers. She always had to write them our in a punch code they made her learn when she was six years old. The mechanical teacher calculated the mark in no time. The inspector had smiled after he had finished , and patted her head. He said to her mother , "It's no the little girl's fault , Mrs. Jones. I think the geography part was geared a little too quickly. I've slowed it up to an average 10-year level. In fact , the overall pattern of her progress is quite satisfactory." Again he patted Margie's head. Margie was disappointed. She had been hoping they would take the teacher away. They had once taken Tommy's teacher away for about a month , because the history part had not worked.
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Chamber music dominates, but so does the confronation between solist and orchestra, the type of communal encounter that is for Marry the raison d'etre of music -making. Marry shun isolation, being drawn insted to the sort of musical context in which a spirit of reciprocal reaction grows from the need to establish a mutual rapport in duos, trios, quartets and every other poible combinations. Here, her volcanic expressivity has to take account of the discipline and balance that must be collectively agreed upon with her fellow performers, who can often be quite different in nature, and are in turn called upon to respond in kind to her impassioned playing. これらなのですが。。。もう訳がわかりません゜(゜´Д｀゜)゜ 頭が変になりそうです。 どなたか、お力添えをお願い出来ないでしょうか？
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- 翻訳をお願いしたいです。コンピューター関係の書物の文章です。翻訳サイト
翻訳をお願いしたいです。コンピューター関係の書物の文章です。翻訳サイトのコピペはご遠慮ください。 An interesting view of multiplexing is to think of a multiplexed shared resource as an unshared virtual resource. Consider a customer using the services of a bank teller, as in Example6.7. While the teller is helping the customer, the fact that other customers are waiting in line is of no consequence. If we magically put a customer in suspended animation when she is waiting in line, and wake her up when the teller becomes available, then from her perspective, the teller is never unavailable. From this perspective, the bank teller is, therefore, an unshared virtual resource.
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長文で、御手数ですが、どうか分かり易く翻訳お願い出来ないでしょうか？ But if asked to get to the heart of her greatness as an interpreter and draw out what distinguishes her from other great pianists, it is not this "feminie" aspect we would evoke, but rather the powerful virllity of her playnig. "Does she play like a man? No, she plays like an Argerich!" is a phrase one often hears. This is what comes across from her performances of music by those 20th-century composers who moved away from the romanticism of the past and established themselves as the embodiment of modernity. To appreciate this, we need only go back to her performances of the Prokofiev concertos, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. In tha same way, while her liszt shows that she possesses the necessary resources to give romantic music its full evocative power, she nevertheless does so in a controlled way bound up with the modern sense of how to shape the sound, with no disgressions into the facile or mannered. This is the basis of her Mozart and early Beethoven in particular: both are interpreted with a bright, limpid sound in which logic prevails over sentiment. 音楽評論の一部です。非常に長いですが、どうかお力添えお願い致しますm(_ _)m
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この文章翻訳できるかたお願いします。 If a diachronic approach is the study of relationships across time, then a synchronic one is the study of relationships at one particular moment in time. To pick up the analogy mentioned above, a synchronic analysis would be the freezing of the football game at one particular moment and we would look to see the relationship of the players at that moment. In a way the slow-motion replay is a synchronic derived deconstruction within the diachronics of the overall game. Within that moment time is frozen (even in a live telecast there is a sense that nothing, of signfiicance anyway, is taking place within the game it self), slowed and replayed.
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Waiting The first and most important point in infant observation is the non-interference of the parent, usually the mother. She must refrain from initiating play or selecting which toys the child will play with. At the same time she is told to remain connected to the child and to immerse herself in his activity. As the parent empties herself of expectations, knowledge and desires in order to participate in an empathic way with her child's play, she starts feeling what he feels and merges with his emotional field. Watching In the presence of an observer, the parent watches her infant play and connects with him. When a mother speaks, what is important is not so much the content of what she says, but the subtle musical attunement to the moods and moves of the baby. The infant communicates his experience through his body, his face, his gestures, his screamings. The slightest moves on the baby's face are meaningful. The presence of the observer may allow the parent to develop awareness of her own simultaneous emotional reactions to the child's expressions and to understand her baby not through analysis, but through presence and awareness of what he does communicate of who he is and what he wants.
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前の続きです。 It didn't become a great success because the company had no experience with children's books and did not bother to advertise.But mixed critiques would't stop him from drawing;he was convinced that these drawings were perfect for children. Bruna was influenced by the developments in Dutch graphic design of the De Stijl Movement.He is inspired by Rietveld's Schroderhuis(in his hometown),which he thinks is fascinating because of its color and shape simplicity.By limiting the size of the pages to 155x155mm he managed to downsize the costs of his books and fit them exactly into tiny hands. Miffy's appearance chaneged in 1963.Her attitude,the shape of her face,her arms, legs,ears,everything gets a little more tension.It makes her lool moie self-confident.Bruna is always in pursuit of simpler,more perfect forms.
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Mary Lou Robertson is an experienced bird-watcher at a very young age. In fact, she is so knowledgeable about them. Not bad for a 13-year-old girl who is still in school! So when did this young schoolgirl first become interested in bird-watching? It all started when her family moved to a new neighborhood. Mary Lou explains that she would feel very lonely at times when she first moved to her new home. She had left her friends behind when she moved, and on her new street there were not many children to play with. Becoming a bird-watcher helped her to settle into the new neighborhood and to feel more at home. "After moving to a new neighborhood without many kids living on my street,"she says,“the wildlife sort of brought me closer to feeling like I had friends.” Every morning mary Loe takes her binoculars and heads out to look for birds. But when qualities do birdwatchers need? Mary Lou explains that in order to watch birds, one must be quiet and calm and not make a lot of noise. She says that if the watcher makes any sudden movements, the birds will probably become scared because they will think that the person is a predator. 自分で訳してみても全く文章にならないので、翻訳お願いします。
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輪郭の特徴などが書いてあるのですが、よくわからないので翻訳できる方宜しくお願いします。 There is a slight hollow in the side of the cheek below the ear and cheek bone, but it does not extend into the face far enough to cause him to have hollow or sunken cavernous cheeks, it is just a faint depression near the ear or outer edge of the face. He has a straight thin nose, the eyebrows coming close to the edge of the narrow bridge. The nose is pointed and drawn in, with a rounded tip and a shallow curve or convexity in its shape in the middle of the shaft which you can only notice from the side. Its a high set nose, not quite upturned but the sort where you can see the nostrils, when his head is straight. The tip of the nose is slightly more prawn pink, or warmer toned than his general skin shade. There may be a dent or depression in the bridge in later years. The nose is straight not favoring the left or right side of the face, but straight down the middle Like the handle of a spoon.
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