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2019年09月15日 17:52:58 | 作者:导医指南 | 来源:新华社
I walked on around to the car and was standing outside of the driver's side waiting for them. It had been a calm, cool night in November (night before Thanksgiving, actually) and no wind. Suddenly, I felt a breeze come up and as I looked up at the trees above me, it was like there was thousands of fireflies in the branches. They lit up like a Christmas tree!  About that time, I heard Walt yell to Shawn, "RUN!" and I could hear them running, feet pounding, towards the car. I jumped in the driver side and started the car. As I did so, I looked and saw Shawn coming through the gate of the fence. As I sat there and looked, he appeared to trip or something had shoved him. He went flying through the dirt and gravel, landing on his hands and knees. He got up, continued on around the car and jumped in the front passenger seat. Walt then ran around and got in. (Note: keep in mind, Shawn was so far ahead of Walt, he was able to fall, get up and get in the car before Walt had even cleared the gate area.)   Article/200903/65398Writer Zora Neale Hurston told About African-American Life in the SouthWritten by Cynthia Kirk (THEME)VOICE ONE:I’m Mary Tillotson.VOICE TWO:And I’m Steve Ember with the VOA Special English program PEOPLE IN AMERICA. Today, we tell about writer Zora Neale Hurston. She was one of the most recognized black women writers. She wrote seven books and more than one hundred short stories, plays and articles for magazines. (THEME)VOICE ONE:Zora Neale Hurston was born in eighteen ninety-one in Notasulga, Alabama. A short time later, her family moved to Eatonville, a small town in central Florida. All of the people of Eatonville were African-American. The town shaped Hurston’s life and her writing. As a child, she would listen closely to the stories told by the adults in the town. Several of her books take place in communities very similar to Eatonville. The people she wrote about in her books are very similar to people she knew there. Zora was born at a time of racial tensions between blacks and whites in the southern ed States. But she never felt angry about being black. In her stories, she described Eatonville as a place where black Americans could live as they pleased.Zora Neale Hurston was known for her ability to tell a story. Storytelling is an important part of many cultural traditions. African-American storytelling is a strong family tradition that dates back hundreds of years. It is a way for people to establish their identities in often unfriendly areas as they struggle to hold their communities together.(MUSIC)VOICE TWO:Zora Neale Hurston was the fifth of eight children. Zora’s mother was a schoolteacher. Her father was a builder and a church preacher. He also became the mayor of Eatonville. Zora’s mother died in nineteen-oh-four, when Zora was thirteen years old. Her mother’s death severely affected Zora’s life. She was rejected by her father and his second wife. Zora was forced to take care of herself. She left Eatonville and moved north when she was fourteen years old. She worked for a traveling theater company. She also worked as a maid, cleaning the homes of white people. One of her employers recognized Zora’s abilities. She made it possible for her to attend high school in Baltimore, Maryland.Zora was twenty-six years old when she began high school. But she said she was only sixteen. Throughout her life, she often said she was younger than she really was.VOICE ONE:In nineteen eighteen, Zora Neale Hurston attended Howard University in Washington, D.C. She studied with Alain Locke. He was a professor of philosophy and an expert on black culture. She earned money by working as a maid and doing other work. Hurston published her first short stories at Howard University. Her stories were about black folklore and life in Eatonville. She won prizes for her writings that were published in newspapers and magazines. The early nineteen twenties marked the beginning of Zora Neale Hurston’s life as a writer. (MUSIC)VOICE TWO:In nineteen twenty-five, Hurston traveled to New York City. This was during the period known as the Harlem Renaissance. Harlem is a famous area in New York. The Harlem Renaissance was a period in which black artists explored their culture and showed pride in their race. This was expressed in literature, music and other art forms. Hurston and her stories about Eatonville became important during the Harlem Renaissance. She met other young black writers of the time, such as poet Langston Hughes. Hurston became the first black student to attend Barnard College in New York. She studied with anthropologist Franz Boas. She became interested in anthropology -- the study of the origin, development and actions of humans. Boas recognized Hurston’s storytelling ability and deep interest in the black culture of the South. He urged her to do more research there. VOICE ONE:Hurston received financial support for most of her research from a wealthy woman in New York named Charlotte Osgood Mason. During the next several years, Hurston traveled in Florida and the Caribbean to collect and write stories about what she saw. She learned about the traditions of the people she met. She spoke with men and women, young and old, collecting their stories in their own words. She wanted to keep the language exactly as they told it. Many of the stories were like those she had heard as a child.VOICE TWO:In nineteen thirty-six, Hurston traveled to Jamaica and Haiti with a financial award from the Guggenheim Foundation. The Caribbean people accepted her as one of them. They spoke with her freely, even about religious traditions. In Haiti, she learned a great deal about the voodoo religion. Hurston published two important collections of stories based on her research. They were “Mules and Men” and “Tell My Horse.” Both examined the voodoo religion. Article/200803/30123It was a very sunny Saturday and the zoo was crowded with families. The Dursleys bought Dudley and Piers large chocolate ice creams at the entrance and then, because the smiling lady in the van had asked Harry what he wanted before they could hurry him away, they bought him a cheap lemon ice pop. It wasn't bad, either, Harry thought, licking it as they watched a gorilla scratching its head who looked remarkably like Dudley, except that it wasn't blond. Harry had the best morning he'd had in a long time. He was careful to walk a little way apart from the Dursleys so that Dudley and Piers, who were starting to get bored with the animals by lunchtime, wouldn't fall back on their favorite hobby of hitting him. They ate in the zoo restaurant, and when Dudley had a tantrum because his knickerbocker glory didn't have enough ice cream on top, Uncle Vernon bought him another one and Harry was allowed to finish the first. Harry felt, afterward, that he should have known it was all too good to last. After lunch they went to the reptile house. It was cool and dark in there, with lit windows all along the walls. Behind the glass, all sorts of lizards and snakes were crawling and slithering over bits of wood and stone. Dudley and Piers wanted to see huge, poisonous cobras and thick, man-crushing pythons. Dudley quickly found the largest snake in the place. It could have wrapped its body twice around Uncle Vernon's car and crushed it into a trash can — but at the moment it didn't look in the mood. In fact, it was fast asleep. Dudley stood with his nose pressed against the glass, staring at the glistening brown coils. "Make it move," he whined at his father. Uncle Vernon tapped on the glass, but the snake didn't budge. "Do it again," Dudley ordered. Uncle Vernon rapped the glass smartly with his knuckles, but the snake just snoozed on. "This is boring," Dudley moaned. He shuffled away.The guys and I talked for a bit (at a Denny's far, FAR away from that building on Kiowa street) after that. When I asked them how they knew I was in trouble, they said that when I had gone into the building, all radio contact with me had been lost. (Dispatch had tried to get hold of me to send me on an alarm response, and no one could raise me on the radio, curious, since I had called out as entering the building when I went through the doors as is procedure) that is until they heard a woman shrieking and moaning over the airway. There were no female officers on shift that night, and the dispatcher was also a man.   Luckily for my sanity, Tom had been just down the street, checking an abandoned school, (a story all in itself) and was able to get to me about the time I was collapsing onto the hood of my patrol car.  I do not know who this ghost is, or why she still haunts the place. The only thing unusual that I know for a fact about the place is that the basement used to house a crematorium in the 1930s and 40s. Though all activity in the building seems concentrated on the 6th floor, so I don't know if that has anything to do with this haunting or not.  There were also rumors of a young girl committing suicide on the 6th floor, and about a mass murder there while it was still a hotel around the turn of the century, but those are all just that... rumors. Article/200902/62960

An Italian couple murdered four people in the house next door. They slit the throats of their neighbor, Maria Como, and her mom. Then they slit the throats of Mrs. Como's 2-year-old little boy, Perry, and a woman who just happened to be visiting. Finally, they set the house on fire! This all happened two weeks before Christmas.The couple had complained constantly to the Comos about the noise they caused, but no one else in the neighborhood seemed to think that the Comos were noisy."Maria was a kind and quiet person," said one of her neighbors. "She and her husband used to push little Perry around the neighborhood in his stroller. They were friendly to everyone. I can't believe this happened."Police in the northern Italian town could not believe it either. A spokesman said that never in the history of Italy had a married couple worked as a team to slice four neighbors' throats and then try to burn their house down!"I think if they claim temporary insanity, everyone will believe it!" said the spokesman.After firemen found the four bodies, the couple calmly confessed to the police. Article/201104/130842

We moved in our new house. The house has cathedral ceilings up and down, and the only attic space was in the adjoining wall from my son’s room, which is above the kitchen. It is about twelve feet long, and its highest point is about five feet, and then it tapers down from the angle of the roof...  The first thing I noticed that was odd was that it had been nailed shut. Not just with a few nails but about twelve long ominous ones…The former occupant was either attempting to stop someone getting in….Or out.  The house is in a very nice neighborhood with a creek nearby, the mountains nicely within view and a multitude of parks… It was upon the third night that we first heard something out of sorts…A scratching noise above the kitchen. I told my wife and son that we must have a trapped animal in the attic space, perhaps a rat. Yet, for some unexplainable reason my imagination kept considering a far more sinister prospect... Whatever the course I was going to have to investigate…  我们搬进了新房子。房子的天花板就像教堂上尖尖的屋顶一样从中间向边上倾斜,紧邻着我儿子的房间是一间阁楼,也是这所房子里面唯一的一间,位于厨房的上面。这间阁楼差不多有十二尺长,最高的地方有将近五尺,屋顶从尖角的位置向下延伸开来逐渐变得宽阔,就像圆锥那样。  第一件让我奇怪的事情是阁楼的门被钉死了,而且不是用的几个小钉子,而是十二根很长的,让人有一种不祥的预感。看起来房子先前的主人是想阻止什么人进去,或是出来…  房子四周的风景很美,附近有一条小溪,几座景色宜人的大山还有很多公园…但是,住进来的第三天晚上我们听到了一些让人不大高兴的声音…厨房上面传来了一阵噼里啪啦的声音。我就和妻子儿子说肯定是阁楼里面关着了什么动物,也许是只老鼠,但是,不知道为什么我的脑海里总是出现一些不祥的预感。究竟是怎么回事呢?我打算去看看… Article/200809/49009

PART THREE - A YOUNG WOMAN AT THORNFIELDCHAPTER EIGHTLife with Mr. Rochester"Miss Eyre," said Mr. Rochester, "how old were you when you first came to Lowood?""I was almost then years old, sir.""And you lived there eight years, so you are now eighteen. When I first saw your face, I did not know how old you were. What did you learn at the school? Can you play the [-----1-----]?""A little.""Play us a song on the piano, then. It is in the [-----2-----]." I did as he asked.But after I had played for a few minutes, he said, "That's enough, Miss Eyre. You do not play very well, but you are better than some others! Now, bring me your drawings." I got them from my room. He looked at them for a while and then [-----3-----] to three."These three drawings are interesting," he said. "Where do your ideas come from? Who taught you to how to draw wind, and space, and feelings? But now it is late, Miss Eyre, so put them away. Adele should go to bed now. Good night to you all!" It seemed that Mr. Rochester suddenly wanted to be alone.填空 :1.piano2.library3.pointed Article/200904/67075

Appreciating Armani 魅力无限亚曼尼Fashion followers fortunate enough to be in Spain between March and August this year will surely not want to pass up an exhibition at the Guggenheim Museum in the northern city of Bilbao. Its subject is the work of a talismanic designer whose enormous appeal took a clothing label to unprecedented heights in brand-name recognition. The exhibition, called simply "Giorgio Armani," covers the designer's twenty-five-year development and contribution to fashion and culture. Clothes from different stages of Armani's career are displayed in a loose narrative arrangement, and many of the designs feature his trademark color, the mixture of grey and beige that came to be known as "Armani greige."Also on display are the romantic traditions of European fashion and selections demonstrating influences and fabrics from regions as diverse as China, India, and Polynesia. There is even a section containing movie costumes and outfits worn at the Oscars and other ceremonial occasions, illustrating the glamour and cultural status of the Armani brand. The garments are complemented by a selection of photographs and sketches. The exhibition's appearance in Bilbao follows on the heels of an earlier successful stint at the New York Guggenheim, where there was some minor criticism among the acclaim. Art purists castigated the Museum for promoting commercial concerns, while others, who feel Armani's best days are behind him, pointed out that a museum is where his designs belong. There is a strong popular association between the words "Armani suit" and the attainment of, or at least the quest for, material success. It is a fashion item whose designer possesses an extraordinary ability to create a harmonious blend of seemingly contradictory elements: traditional and modern, East and West, casual and elegant. Giorgio Armani was born near Milan, Italy, in 1934. His earliest foray into the fashion world was helping introduce Italian consumers to foreign styles when he worked as a purchaser for a leading Milanese department store. With no formal training behind him, he brought out his first line in 1964 while working for Nino Cerutti, one of the top men's fashion houses. He later left to start his own firm, and his clothes began appearing under the Armani label in 1975. The Armani line was at first noted for loose, smart-casual blazers that provided a refreshing alternative to both the stiff, formal suits and the sloppy, laid-back hippie style of the previous decade. Though they were aimed at men, Armani's fashions proved so popular among women that he soon began designing for them as well. The famous suits caught the mood of the power dressers of the prosperous 1980s, and a string of movie appearances by his designs, beginning with the wardrobe of Richard Gere in American Gigolo, enhanced his reputation to the point where he is now considered one of the undisputed icons of twentieth-century style. 流行时尚的拥护者们如果有幸能在今年三月至八月前往西班牙,一定不想错过在北方城市毕尔巴鄂、古根海姆物馆举办的展览。展览的主题是一位设计奇才的作品,其无穷的魅力使一个装品牌打进名牌殿堂,到达前所未见的巅峰。 这个展览简称“乔治亚曼尼”,它涵括了这名设计师二十五年来的发展和对流行文化的贡献。亚曼尼在不同阶段设计的饰,分别不规则地呈现在各个主题区。他众多的设计均能明显地展示他的品牌色: 将灰色及米黄色调配而成的“亚曼尼米灰色”。 这场展览同时展出的,有他沿用欧陆传统浪漫风味的作品,以及深受中国、印度、波里尼西亚等地域影响,用当地纺织原料所精心制作的装,甚至还有一个区域专门展示他设计的电影装,以及专为奥斯卡颁奖典礼或其他隆重场合的出席嘉宾设计的饰,这些都验了亚曼尼品牌的迷人魅力与文化上的地位。饰旁边还有精选的照片及设计草图。 之所以能在毕尔巴鄂举行这项展览,要归功于稍前在纽约古根海姆美术馆的成功展出。在纽约一片喝采声中,只有为数很少的批评之声。艺术纯粹主义者斥责美术馆是在替商业行为做宣传,但是也有人认为亚曼尼日后必定会取得非凡的成就,他的作品应该陈列在物馆里。提到“亚曼尼西”,不得不令人联想到他在装界的卓越成就,和对成功的追求。这句流行辞汇源于一位拥有超凡能力的设计师,他能把乍看之下相互矛盾的元素充分调和:传统与现代,东方与西方,通俗与高雅。 乔治亚曼尼1934年出生于意大利米兰。他首次接触时尚界,是为米兰一家著名的百货公司当销售员,向顾客介绍异国的装风格。之前从未受过任何专业训练的亚曼尼,在1964年为一家顶尖的男士时装品牌“尼诺塞洛提”工作时,画下了他设计生涯的处女作。后来他离职自己组建公司,他所设计的饰,于1975年正式以“亚曼尼”之名问世。 亚曼尼的设计最初以轻松、时髦又随意的上衣而著称,它开创了一种新颖的风格,摆脱了之前十年一直风行的两种样式:正式却死板的西装和过于随便的嬉皮风格。虽然起初亚曼尼的时装是专为男性设计的,结果发现它们也受到女性欢迎,于是不久后他也开始为女性设计。 这些出名的饰到了繁荣的八十年代,开始引起了权威装造型师的兴趣,从设计李察基尔在“美国舞男”里的全部戏开始,亚曼尼设计的装在一部又一部的电影中登场,他也因此更加声名大噪。现在他已成为举世公认、开创二十世纪风格的代表人物之一。 Article/200803/29862

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