關於斯坦李的英語閱讀

Ⅰ 幫忙說一下這個英語閱讀的大概意思

愛因斯坦作為20世紀傑出的科學家，不但對科學發展做出了貢獻卓越，對人權的建立和世回界和答平也盡心盡力。在二戰期間，愛心斯坦由於擔心希特勒的野心會給世界帶來毀滅性災難，他建議當時的美國總統率先製造核彈。對世界和平，盡管是一位非神論主義者，愛因斯坦對世界和平充滿信心：「神也許知道世事，但是他並不抱著憎恨的心。」

題外話，幫得了一次，幫不了一世，作業還是自己做的好：）

Ⅱ 斯坦·李的介紹

斯坦·李（Stan Lee），1922年12月28日出生於美國紐約，漫畫創作者、演員、編劇。1941年，斯坦利生平專第一部作品問世，即《美國屬隊長》系列漫畫的第三部。1961年11月開始，在搭檔漫畫家傑克·科比的協助下，他創作了《神奇四俠》、《蜘蛛俠》、《鋼鐵俠》、《雷神托爾》、《綠巨人》、《X戰警》、《奇異博士》、《超膽俠》等漫畫角色。1972年，斯坦·李成為漫威漫畫公司的發行人和董事長，1998年，他離開了漫威漫畫公司。20世紀90年代末，斯坦·李成立了「斯坦·李傳媒」公司，但這家公司於2001年破產。2002年，他與人合作創辦了POW！娛樂公司1。2011年1月4日，88歲的斯坦·李留名好萊塢星光大道。影視方面，他相繼客串出演了《蜘蛛俠》、《X戰警》、《神奇四俠》、《鋼鐵俠》、《美國隊長》、《雷神托爾》、《無敵浩克》、《復仇者聯盟》、《超凡蜘蛛俠》、《超能陸戰隊》等電影2345。

Ⅲ 英語閱讀 寫200字commentary，文章不用翻譯，直接寫200字的commentary就可以了

被稱為neuroarm，它是神經外科醫生garnette Suther land博士和他的研究小組。該neuroarm是設計運行在病人頭坐在一個磁共振成像機。一個外科醫生在一個工作站控制臂使用實時磁共振成像指導。與機器人的手其實是更穩定的比一個人的外科醫生。一個外科醫生的手穩定的約100微米，開發商說，但neuroarm將約25 microns.macdonald，迪特維利，與結合（丙二醛），莊家的太空飛船的加拿大臂，並主要工程工作。一種棘手的部分的設計來了磁性電機及軸承。「磁性材料的磁共振產生的文物圖像醫生使用作出決定，」解釋艾倫，首席執行官的nanomotion部分公司，約翰遜電氣的醫葯科技集團。nanomotion供給汽車動力neuroarm的六軸。nanomotion馬達使用的壓電，壓電陶瓷，將一個小手指來回。手指旋轉陶瓷環，從而創造運動通過摩擦。該電機適合版本最初是用在半導體製造真空環境。這涉及轉換不銹鋼件陶瓷和未來與全陶瓷軸承。」運動是把壓力為工作表面。這意味著你需要一定的剛度的結構工程的反對，說：」斯坦。「我們需要一個剛度約40微米。但機器人的剛度低，由於塑料和陶瓷軸承。我們必須密切合作與設計師確保我們沒有造成太大的磨損或雜訊盡管妥協的剛度。」

Ⅳ 科學怪人弗蘭肯斯坦關於文中的怪物寫一篇英語作文

The Monster

The monster is Victor Frankenstein』 creation, assembled from old body parts and strange chemicals, animated by a mysterious spark. He enters life eight feet tall and enormously strong but with the mind of a newborn. Abandoned by his creator and confused, he tries to integrate himself into society, only to be shunned universally. Looking in the mirror, he realizes his physical grotesqueness, an aspect of his persona that blinds society to his initially gentle, kind nature. Seeking revenge on his creator, he kills Victor』s younger brother. After Victor destroys his work on the female monster meant to ease the monster』s solitude, the monster murders Victor』s best friend and then his new wife.

While Victor feels unmitigated hatred for his creation, the monster shows that he is not a purely evil being. The monster』s eloquent narration of events (as provided by Victor) reveals his remarkable sensitivity and benevolence. He assists a group of poor peasants and saves a girl from drowning, but because of his outward appearance, he is rewarded only with beatings and disgust. Torn between vengefulness and compassion, the monster ends up lonely and tormented by remorse. Even the death of his creator-turned-would-be-destroyer offers only bittersweet relief: joy because Victor has caused him so much suffering, sadness because Victor is the only person with whom he has had any sort of relationship.

Themes

Themes are the fundamental and often universal ideas explored in a literary work.
Dangerous Knowledge

The pursuit of knowledge is at the heart of Frankenstein, as Victor attempts to surge beyond accepted human limits and access the secret of life. Likewise, Robert Walton attempts to surpass previous human explorations by endeavoring to reach the North Pole. This ruthless pursuit of knowledge, of the light (see 「Light and Fire」), proves dangerous, as Victor』s act of creation eventually results in the destruction of everyone dear to him, and Walton finds himself perilously trapped between sheets of ice. Whereas Victor』s obsessive hatred of the monster drives him to his death, Walton ultimately pulls back from his treacherous mission, having learned from Victor』s example how destructive the thirst for knowledge can be.

Sublime Nature

The sublime natural world, embraced by Romanticism (late eighteenth century to mid-nineteenth century) as a source of unrestrained emotional experience for the indivial, initially offers characters the possibility of spiritual renewal. Mired in depression and remorse after the deaths of William and Justine, for which he feels responsible, Victor heads to the mountains to lift his spirits. Likewise, after a hellish winter of cold and abandonment, the monster feels his heart lighten as spring arrives. The influence of nature on mood is evident throughout the novel, but for Victor, the natural world』s power to console him wanes when he realizes that the monster will haunt him no matter where he goes. By the end, as Victor chases the monster obsessively, nature, in the form of the Arctic desert, functions simply as the symbolic backdrop for his primal struggle against the monster.

Monstrosity

Obviously, this theme pervades the entire novel, as the monster lies at the center of the action. Eight feet tall and hideously ugly, the monster is rejected by society. However, his monstrosity results not only from his grotesque appearance but also from the unnatural manner of his creation, which involves the secretive animation of a mix of stolen body parts and strange chemicals. He is a proct not of collaborative scientific effort but of dark, supernatural workings.

The monster is only the most literal of a number of monstrous entities in the novel, including the knowledge that Victor used to create the monster (see 「Dangerous Knowledge」). One can argue that Victor himself is a kind of monster, as his ambition, secrecy, and selfishness alienate him from human society. Ordinary on the outside, he may be the true 「monster」 inside, as he is eventually consumed by an obsessive hatred of his creation. Finally, many critics have described the novel itself as monstrous, a stitched-together combination of different voices, texts, and tenses (see TEXTS).

Secrecy

Victor conceives of science as a mystery to be probed; its secrets, once discovered, must be jealously guarded. He considers M. Krempe, the natural philosopher he meets at Ingolstadt, a model scientist: 「an uncouth man, but deeply imbued in the secrets of his science.」 Victor』s entire obsession with creating life is shrouded in secrecy, and his obsession with destroying the monster remains equally secret until Walton hears his tale.

Whereas Victor continues in his secrecy out of shame and guilt, the monster is forced into seclusion by his grotesque appearance. Walton serves as the final confessor for both, and their tragic relationship becomes immortalized in Walton』s letters. In confessing all just before he dies, Victor escapes the stifling secrecy that has ruined his life; likewise, the monster takes advantage of Walton』s presence to forge a human connection, hoping desperately that at last someone will understand, and empathize with, his miserable existence.

Texts

Frankenstein is overflowing with texts: letters, notes, journals, inscriptions, and books fill the novel, sometimes nestled inside each other, other times simply alluded to or quoted. Walton』s letters envelop the entire tale; Victor』s story fits inside Walton』s letters; the monster』s story fits inside Victor』s; and the love story of Felix and Safie and references to Paradise Lost fit inside the monster』s story. This profusion of texts is an important aspect of the narrative structure, as the various writings serve as concrete manifestations of characters』 attitudes and emotions.

Language plays an enormous role in the monster』s development. By hearing and watching the peasants, the monster learns to speak and read, which enables him to understand the manner of his creation, as described in Victor』s journal. He later leaves notes for Victor along the chase into the northern ice, inscribing words in trees and on rocks, turning nature itself into a writing surface.

Motifs

Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text』s major themes.
Passive Women

For a novel written by the daughter of an important feminist, Frankenstein is strikingly devoid of strong female characters. The novel is littered with passive women who suffer calmly and then expire: Caroline Beaufort is a self-sacrificing mother who dies taking care of her adopted daughter; Justine is executed for murder, despite her innocence; the creation of the female monster is aborted by Victor because he fears being unable to control her actions once she is animated; Elizabeth waits, impatient but helpless, for Victor to return to her, and she is eventually murdered by the monster. One can argue that Shelley renders her female characters so passive and subjects them to such ill treatment in order to call attention to the obsessive and destructive behavior that Victor and the monster exhibit.

Abortion

The motif of abortion recurs as both Victor and the monster express their sense of the monster』s hideousness. About first seeing his creation, Victor says: 「When I thought of him, I gnashed my teeth, my eyes became inflamed, and I ardently wished to extinguish that life which I had so thoughtlessly made.」 The monster feels a similar disgust for himself: 「I, the miserable and the abandoned, am an abortion, to be spurned at, and kicked, and trampled on.」 Both lament the monster』s existence and wish that Victor had never engaged in his act of creation.

The motif appears also in regard to Victor』s other pursuits. When Victor destroys his work on a female monster, he literally aborts his act of creation, preventing the female monster from coming alive. Figurative abortion materializes in Victor』s description of natural philosophy: 「I at once gave up my former occupations; set down natural history and all its progeny as a deformed and abortive creation; and entertained the greatest disdain for a would-be science, which could never even step within the threshold of real knowledge.」 As with the monster, Victor becomes dissatisfied with natural philosophy and shuns it not only as unhelpful but also as intellectually grotesque.

Symbols

Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
Light and Fire

「What could not be expected in the country of eternal light?」 asks Walton, displaying a faith in, and optimism about, science. In Frankenstein, light symbolizes knowledge, discovery, and enlightenment. The natural world is a place of dark secrets, hidden passages, and unknown mechanisms; the goal of the scientist is then to reach light. The dangerous and more powerful cousin of light is fire. The monster』s first experience with a still-smoldering flame reveals the al nature of fire: he discovers excitedly that it creates light in the darkness of the night, but also that it harms him when he touches it.

The presence of fire in the text also brings to mind the full title of Shelley』s novel, Frankenstein: or, The Modern Prometheus. The Greek god Prometheus gave the knowledge of fire to humanity and was then severely punished for it. Victor, attempting to become a modern Prometheus, is certainly punished, but unlike fire, his 「gift」 to humanity—knowledge of the secret of life—remains a secret.

Ⅳ 求介紹漫威的英語作文150—200字即可

您好： article is about the comic book company using this name beginning in 1961. For the earlier comic book series, see Marvel Mystery Comics.
Marvel Worldwide Inc., commonly referred to as Marvel Comics and formerly Marvel Publishing, Inc. and Marvel Comics Group, is an American publisher of comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwide's parent company.

Marvel started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvel's modern incarnation dates from 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and many others.

Marvel counts among its characters such well-known properties as Spider-Man, the X-Men, Wolverine, the Fantastic Four, Iron Man, the Hulk, Thor, Captain America, the Silver Surfer, Daredevil, Doctor Strange, the Guardians of the Galaxy, and the Avengers and antagonists such as the Green Goblin, Doctor Octopus, Kingpin, Magneto, Doctor Doom, Loki, Galactus, Thanos, the Abomination, and the Red Skull. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil, and Dr. Strange are based in New York City,[1][2] whereas the X-Men have historically been based in Salem Center, New York,[3][4][5] and the Hulk's stories have usually been set in the American Southwest.[6]

In 2013 Marvel held a 33.5% share of the comics market, compared to its competitor DC Comics' 30.33% share. By comparison, the companies held 40.81% and 29.94% shares in 2008
希望對您的學習有幫助
滿意請採納O(∩_∩)O謝謝
歡迎追問O(∩_∩)O謝謝

Ⅵ 英語閱讀求翻譯

蜘蛛俠是連環漫畫裡面的其中的一個英雄。他是由斯丹.李在1963年創造的，並首先通過漫回威漫畫問世。
蜘蛛俠的故答事是一個叫皮特.帕克的人的故事。皮特.帕克的父母雙亡，是與叔叔阿姨一起住的。他是一個害羞安靜戴眼鏡的男孩，朋友不太多。有一天，他們高中課去科學實驗室做實驗，他被一隻特殊的蜘蛛咬了，突然，皮特意識到了自己有股超能力，他像蜘蛛那樣威猛、敏捷並有了第六感。他不在需要他的眼鏡而且他可以用他的超能力飛過城市的各個街道。突然想到了他叔叔-本 告訴過他，擁有了超能力就擁有更大的責任。皮特決定用超能力去對戰那些破壞人們生活的敵人。這樣，蜘蛛俠就誕生了。
生活對於皮特來說還是不易的盡管他是個超級英雄。他愛上了瑪麗.簡但是他不能告訴她他有超能力。而且，他最好的朋友亨利討厭蜘蛛俠。皮特經常缺錢和時間。他不得不向新聞報紙出售蜘蛛俠（他自己）的照片和？？？（看不清）因為他是如此之忙於救人。而且他要與不同的殘酷的敵人戰斗。

希望能幫到你！

Ⅶ 翻譯一篇英語文章

英語無力，不過下面是用谷歌翻譯的，有些詞不準。誰是他上學的第一天緊回張的一個男孩爬上一個三樓的答陽台（陽台），並在一邊的腿。他的母親和教師盡力給他帶了下來，但失敗。然而，一名消防隊員（消防員）誰穿著「蜘蛛俠」成功地在救他。
消防隊員被稱為大衛·史密斯在之後的6歲的教師和母親沒有讓他從陽台上下來。 「他問他的母親，」史密斯說。 「他哭了，不會讓我們任何接近他得到的。」聽完他的超級英雄的愛男孩的母親和他的老師之間的對話（超級英雄），史密斯匆匆趕回家，讓他的蜘蛛（蜘蛛人）的衣服。
「我告訴他：」蜘蛛俠是來拯救你，沒有人會傷害你「，」史密斯說。 「然後，我告訴他慢慢走向我。我真的很緊張，他可能會下降，如果他得到了太激動了，並開始運行。」然後哭喊的男孩闖進了一個微笑，把消防員的胳膊走了。
虛構的（虛構的）的超級英雄，由作家斯坦·李在20世紀60年代初創建的。它最近已成為流行，再次通過了一系列關於他製作的電影。在他擔任巨星托比·馬奎爾，克爾斯滕·鄧斯特和詹姆斯·弗蘭科擔任。

Ⅷ 科技英語閱讀習題翻譯，幫忙翻譯一下，謝謝。急。

你等我，要花點時間。
1、數學也許不是新事物了，但達欽是個享內受發現過程的人，她與其容他6名數學專家共同鑽研。
2、如果包裹里的物品有私人信件，應該密封起來。
3、新研究表明，腦區更傾向於符號表示而非數字表達。
4、這樣做，一個基於平等範例的理想模型建立起來，與中性模型相比，反映了未來教育系統在法案生效前已經存在於世。
5、這豈不是公然與愛恩斯坦的定律「信號的速度比光速慢」相矛盾嗎？
6、順序結構最大的優勢在於刻錄是以邏輯指令保存的，大概序列到結構的記錄通常需要列印和軟拷貝報告。
7、用數學形式描述二人零和博弈的游戲並不難，決定最佳策略和對弈價值的計算也簡單。
8、我們目前所知的證據，需要整個數學領域中關於未知「費馬時間定理」取得進展。
9、威廉補充"一所請求形式推理課程的高中"已被「消化」掉，不再是基礎證明。
10、完全飛機所有權的概念將逐漸在傳統貿易結構中佔有重要地位，傳統貿易結構已無法抑制其在科技經濟上的拓展。

Ⅸ 斯坦·李的人物經歷

斯坦·李原名斯坦利·馬丁·利博，1922年12月28日出生在紐約的一個小公寓里，他的父母都是來自羅馬尼亞的猶太移民。斯坦利的父親是個裁縫，在上世紀30年代美國發生經濟大蕭條後，就只能零星地攬點活干。受生活所迫，斯坦利跟著父母頻繁搬家。9歲時，弟弟拉里出生，一家四口擠在一室一廳的小公寓里，兄弟倆享受著唯一的卧室，父母卻只能睡在客廳的折疊式睡椅上。從小，斯坦利就喜歡閱讀神秘小說和冒險故事。求學期間，他跳過幾次級，所以總是班裡年齡最小的學生。高中時代的斯坦利是個文學青年，熱愛寫作，當地一家報紙曾組織徵文比賽，由於斯坦利獲獎的次數太多，這家報紙不得不改變評選規則以阻止他再次參加比賽。為了補貼家用，小斯坦利到處找活干。他曾給報紙長期寫過訃聞，幫美國國家結核病中心寫過新聞通稿，幫餐館送過三文治外賣，做過制褲公司的雜工，做過百老匯大戲院的引座員，還做過《紐約先驅論壇報》的訂報員。
1939年，16歲的斯坦利從高中畢業。在舅舅的介紹下，斯坦利跟當時的通俗雜志和漫畫書出版商馬丁·古德曼見了一面。古德曼同意讓斯坦利到自己的Timely漫畫公司做助理，周薪是8美元。而Timely就是神奇漫畫公司的前身。 1941年，斯坦利生平第一部作品問世，它就是《美國隊長》系列漫畫的第三部，斯坦利負責填寫內容，漫畫由別人來畫。他開始第一次使用筆名「斯坦·李」。就在他的作品問世的同一年，總編喬·西蒙因與老闆古德曼發生沖突而辭職，並帶走了一些得力干將。時年30歲的古德曼任命僅僅19歲的斯坦·李為臨時總編，並很快被扶正，在總編職位上一直幹了30多年，同時兼任藝術總監。1972年，他成為神奇漫畫公司的發行人和董事長。
1942年，斯坦·李應征入伍。在美國陸軍，他主要是寫寫訓練手冊、宣傳口號，還間或畫些宣傳的卡通畫。他的正式軍職是「劇作家」。1945年，二戰結束，斯坦·李回到紐約，重操舊業。
20世紀50年代末，斯坦·李開始對自己的職業生涯感到不滿，並萌生了退出漫畫界的想法。恰在那時，神奇漫畫公司的對手DC漫畫開始進軍超級英雄題材。古德曼要求斯坦·李也在漫畫中創造出一個超級英雄組合。
在搭檔漫畫家傑克·科比的協助下，1961年11月，漫畫史上的另外一個超級英雄組合誕生，他們就是《神奇四俠》。在隨後的日子裡，他在漫畫家傑克·科比、史蒂夫·迪托的協助下創作出了《鋼鐵俠》、《綠巨人》、《雷神托爾》、《X戰警》、《奇異博士》、《超膽俠》等漫畫角色，他也是《蜘蛛俠》的主創。斯坦·李以及傑克·科比、史蒂夫·迪托創造出了後來被稱為「神奇模式」的漫畫創作流程。這一流程一般是主創斯坦·李提出故事的大綱和結構，畫家傑克·科比負責繪畫和對一些小場景和情節的修改，寫手史蒂夫·迪托負責所有的對話和最終的一些情節上的修改。
1972年，斯坦·李成為神奇漫畫公司的發行人和董事長，從此開始慢慢淡出具體創作。1998年，他離開了神奇漫畫公司。他第一次在熒屏上露臉是1989年的電視電影《無敵浩克的審判》。20世紀90年代末，斯坦·李成立了「斯坦·李傳媒」公司，希望可以製作各種娛樂產品，包括游戲和網路漫畫，但由於經營不善，這家公司於2001年破產。 2000年，他客串出演了《X戰警》。2002年，他與人合作創辦了POW！娛樂公司 ；同年，他出現在電影《蜘蛛俠》中。接下來，他又相繼客串出演了《超膽俠》、《綠巨人》、《蜘蛛俠2》、《神奇四俠》、《X戰警3》、《神奇四俠2》、《蜘蛛俠3》、《鋼鐵俠》、《無敵浩克》、《生活大爆炸第三季》、《鋼鐵俠2》等電影。
2010年4月，迪士尼和斯坦·李宣布共同推出三部電影，都將由POW！娛樂公司製作拍攝 。同年7月，他宣布推出漫畫系列《超級七人組》 。
2011年1月4日，88歲的斯坦·李留名好萊塢星光大道，成為第2428位在星光大道留名的名星 。之後，他又相繼客串出演了《雷神》、《美國隊長》、《復仇者聯盟》、《超凡蜘蛛俠》、《雷神2》、《美國隊長2》、《超凡蜘蛛俠2》、《銀河護衛隊》等電影 。