1.
On the Composing Techniques of Three Impressions of Shaoxing Opera Composed for Zhu Hu and Orchestra
越剧主胡与管弦乐队《越剧印象三则》中的创作技法
2.
The theatre, and the public-house, were the chief themes of the wretched man's wanderings.
剧场，酒店，是这可怜人胡言乱语的主要题目。
3.
Historical superiority of Hu Jintao s people oriented thought over humanitarian;
胡锦涛的以人为本思想对人道主义的历史超越
4.
On Husserl s Transcendental Phenomenology and the Western Traditional Subjectivism;
胡塞尔的超越论现象学与西方传统主体性哲学
5.
a slapstick comedy [motion picture]
胡闹喜剧 [影片]
6.
The Surmounting and Returning to Realistic Tradition of Drama by Ma Sen;
马森对话剧现实主义传统的超越与回归
7.
The deal was signed during the first visit to Vietnam by Hu Jintao, the Chinese president.
这一协议是中国国家主席胡锦涛首次访越期间签署的。
8.
Field of Vision in Canadian Literature;
超越时空的想像——休·胡德与华兹华斯浪漫主义对比研究
9.
Hu Shi and Western Dramas (1910-1917);
胡适与西方戏剧(1910—1917)
10.
Transcendence from the Humanism--A Study of Tragic Consciousness about Altmatov s Novel;
人道主义的拓宽与超越——艾特玛托夫小说的悲剧意蕴探微
11.
Succeeding to Theme and Breaking through Forms--An Analysis on Classical Texts of Chinese Urban Sentimental TV Plays;
主题传承与形式跨越——中国都市言情剧经典文本分析
12.
The Abnormal Love beyond Morality--An Exploration of the Tragic Lot of the Hero and Heroine in Lolita;
超越道德界限的不伦之恋——《洛丽塔》男女主人公悲剧命运剖析
13.
The gaohu was used as the lead instrument or for special renditions.
主奏或特性乐器是高胡，也称粤胡、南胡，
14.
"In the first half of the 19th century, as the popularity of the new Peking Opera increased, four 'Great anhui Companies' dominated the Beijing stage."
19世纪前半期，新出现的平剧越来越流行，四大徽班主宰了京城的舞台。
15.
German composer of French operas, notably Les Huguenots(1836).
梅耶贝尔，贾科莫1791－1864德国法语歌剧作曲家，主要作有胡格诺派教徒（1836年）
16.
Do you get a clear idea of the main characters, BUTCH and THE MUSTACHED MAN? How they move? How they think, perhaps?
你了解剧中主要人物布奇和小胡子男人吗？他们怎么行动？也许，他们如何思考问题？
17.
Preliminary Probe into Musical Thoughts of 100-year Shaoxing Opera-On the 100~(th) Anniversary of Shaoxing Opera;
百年越剧音乐思想初探——写在越剧华诞百年之际
18.
Transcended Tragedy and Transcendence of Tragedy--On Modernism in the novel The Midnight;
超越的悲剧与悲剧的超越——论《子夜》的现代性