关于斯坦李的英语阅读
Ⅰ 帮忙说一下这个英语阅读的大概意思
爱因斯坦作为20世纪杰出的科学家,不但对科学发展做出了贡献卓越,对人权的建立和世回界和答平也尽心尽力。在二战期间,爱心斯坦由于担心希特勒的野心会给世界带来毁灭性灾难,他建议当时的美国总统率先制造核弹。对世界和平,尽管是一位非神论主义者,爱因斯坦对世界和平充满信心:“神也许知道世事,但是他并不抱着憎恨的心。”
题外话,帮得了一次,帮不了一世,作业还是自己做的好:)
Ⅱ 斯坦·李的介绍
斯坦·李(Stan Lee),1922年12月28日出生于美国纽约,漫画创作者、演员、编剧。1941年,斯坦利生平专第一部作品问世,即《美国属队长》系列漫画的第三部。1961年11月开始,在搭档漫画家杰克·科比的协助下,他创作了《神奇四侠》、《蜘蛛侠》、《钢铁侠》、《雷神托尔》、《绿巨人》、《X战警》、《奇异博士》、《超胆侠》等漫画角色。1972年,斯坦·李成为漫威漫画公司的发行人和董事长,1998年,他离开了漫威漫画公司。20世纪90年代末,斯坦·李成立了“斯坦·李传媒”公司,但这家公司于2001年破产。2002年,他与人合作创办了POW!娱乐公司1。2011年1月4日,88岁的斯坦·李留名好莱坞星光大道。影视方面,他相继客串出演了《蜘蛛侠》、《X战警》、《神奇四侠》、《钢铁侠》、《美国队长》、《雷神托尔》、《无敌浩克》、《复仇者联盟》、《超凡蜘蛛侠》、《超能陆战队》等电影2345。
Ⅲ 英语阅读 写200字commentary,文章不用翻译,直接写200字的commentary就可以了
被称为neuroarm,它是神经外科医生garnette Suther land博士和他的研究小组。该neuroarm是设计运行在病人头坐在一个磁共振成像机。一个外科医生在一个工作站控制臂使用实时磁共振成像指导。与机器人的手其实是更稳定的比一个人的外科医生。一个外科医生的手稳定的约100微米,开发商说,但neuroarm将约25 microns.macdonald,迪特维利,与结合(丙二醛),庄家的太空飞船的加拿大臂,并主要工程工作。一种棘手的部分的设计来了磁性电机及轴承。“磁性材料的磁共振产生的文物图像医生使用作出决定,”解释艾伦,首席执行官的nanomotion部分公司,约翰逊电气的医药科技集团。nanomotion供给汽车动力neuroarm的六轴。nanomotion马达使用的压电,压电陶瓷,将一个小手指来回。手指旋转陶瓷环,从而创造运动通过摩擦。该电机适合版本最初是用在半导体制造真空环境。这涉及转换不锈钢件陶瓷和未来与全陶瓷轴承。”运动是把压力为工作表面。这意味着你需要一定的刚度的结构工程的反对,说:”斯坦。“我们需要一个刚度约40微米。但机器人的刚度低,由于塑料和陶瓷轴承。我们必须密切合作与设计师确保我们没有造成太大的磨损或噪声尽管妥协的刚度。”
Ⅳ 科学怪人弗兰肯斯坦关于文中的怪物写一篇英语作文
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 求介绍漫威的英语作文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
希望对您的学习有帮助
满意请采纳O(∩_∩)O谢谢
欢迎追问O(∩_∩)O谢谢
Ⅵ 英语阅读求翻译
蜘蛛侠是连环漫画里面的其中的一个英雄。他是由斯丹.李在1963年创造的,并首先通过漫回威漫画问世。
蜘蛛侠的故答事是一个叫皮特.帕克的人的故事。皮特.帕克的父母双亡,是与叔叔阿姨一起住的。他是一个害羞安静戴眼镜的男孩,朋友不太多。有一天,他们高中课去科学实验室做实验,他被一只特殊的蜘蛛咬了,突然,皮特意识到了自己有股超能力,他像蜘蛛那样威猛、敏捷并有了第六感。他不在需要他的眼镜而且他可以用他的超能力飞过城市的各个街道。突然想到了他叔叔-本 告诉过他,拥有了超能力就拥有更大的责任。皮特决定用超能力去对战那些破坏人们生活的敌人。这样,蜘蛛侠就诞生了。
生活对于皮特来说还是不易的尽管他是个超级英雄。他爱上了玛丽.简但是他不能告诉她他有超能力。而且,他最好的朋友亨利讨厌蜘蛛侠。皮特经常缺钱和时间。他不得不向新闻报纸出售蜘蛛侠(他自己)的照片和???(看不清)因为他是如此之忙于救人。而且他要与不同的残酷的敌人战斗。
希望能帮到你!
Ⅶ 翻译一篇英语文章
英语无力,不过下面是用谷歌翻译的,有些词不准。谁是他上学的第一天紧回张的一个男孩爬上一个三楼的答阳台(阳台),并在一边的腿。他的母亲和教师尽力给他带了下来,但失败。然而,一名消防队员(消防员)谁穿着“蜘蛛侠”成功地在救他。
消防队员被称为大卫·史密斯在之后的6岁的教师和母亲没有让他从阳台上下来。 “他问他的母亲,”史密斯说。 “他哭了,不会让我们任何接近他得到的。”听完他的超级英雄的爱男孩的母亲和他的老师之间的对话(超级英雄),史密斯匆匆赶回家,让他的蜘蛛(蜘蛛人)的衣服。
“我告诉他:”蜘蛛侠是来拯救你,没有人会伤害你“,”史密斯说。 “然后,我告诉他慢慢走向我。我真的很紧张,他可能会下降,如果他得到了太激动了,并开始运行。”然后哭喊的男孩闯进了一个微笑,把消防员的胳膊走了。
虚构的(虚构的)的超级英雄,由作家斯坦·李在20世纪60年代初创建的。它最近已成为流行,再次通过了一系列关于他制作的电影。在他担任巨星托比·马奎尔,克尔斯滕·邓斯特和詹姆斯·弗兰科担任。
Ⅷ 科技英语阅读习题翻译,帮忙翻译一下,谢谢。急。
你等我,要花点时间。
1、数学也许不是新事物了,但达钦是个享内受发现过程的人,她与其容他6名数学专家共同钻研。
2、如果包裹里的物品有私人信件,应该密封起来。
3、新研究表明,脑区更倾向于符号表示而非数字表达。
4、这样做,一个基于平等范例的理想模型建立起来,与中性模型相比,反映了未来教育系统在法案生效前已经存在于世。
5、这岂不是公然与爱恩斯坦的定律“信号的速度比光速慢”相矛盾吗?
6、顺序结构最大的优势在于刻录是以逻辑指令保存的,大概序列到结构的记录通常需要打印和软拷贝报告。
7、用数学形式描述二人零和博弈的游戏并不难,决定最佳策略和对弈价值的计算也简单。
8、我们目前所知的证据,需要整个数学领域中关于未知“费马时间定理”取得进展。
9、威廉补充"一所请求形式推理课程的高中"已被“消化”掉,不再是基础证明。
10、完全飞机所有权的概念将逐渐在传统贸易结构中占有重要地位,传统贸易结构已无法抑制其在科技经济上的拓展。
Ⅸ 斯坦·李的人物经历
斯坦·李原名斯坦利·马丁·利博,1922年12月28日出生在纽约的一个小公寓里,他的父母都是来自罗马尼亚的犹太移民。斯坦利的父亲是个裁缝,在上世纪30年代美国发生经济大萧条后,就只能零星地揽点活干。受生活所迫,斯坦利跟着父母频繁搬家。9岁时,弟弟拉里出生,一家四口挤在一室一厅的小公寓里,兄弟俩享受着唯一的卧室,父母却只能睡在客厅的折叠式睡椅上。从小,斯坦利就喜欢阅读神秘小说和冒险故事。求学期间,他跳过几次级,所以总是班里年龄最小的学生。高中时代的斯坦利是个文学青年,热爱写作,当地一家报纸曾组织征文比赛,由于斯坦利获奖的次数太多,这家报纸不得不改变评选规则以阻止他再次参加比赛。为了补贴家用,小斯坦利到处找活干。他曾给报纸长期写过讣闻,帮美国国家结核病中心写过新闻通稿,帮餐馆送过三文治外卖,做过制裤公司的杂工,做过百老汇大戏院的引座员,还做过《纽约先驱论坛报》的订报员。
1939年,16岁的斯坦利从高中毕业。在舅舅的介绍下,斯坦利跟当时的通俗杂志和漫画书出版商马丁·古德曼见了一面。古德曼同意让斯坦利到自己的Timely漫画公司做助理,周薪是8美元。而Timely就是神奇漫画公司的前身。 1941年,斯坦利生平第一部作品问世,它就是《美国队长》系列漫画的第三部,斯坦利负责填写内容,漫画由别人来画。他开始第一次使用笔名“斯坦·李”。就在他的作品问世的同一年,总编乔·西蒙因与老板古德曼发生冲突而辞职,并带走了一些得力干将。时年30岁的古德曼任命仅仅19岁的斯坦·李为临时总编,并很快被扶正,在总编职位上一直干了30多年,同时兼任艺术总监。1972年,他成为神奇漫画公司的发行人和董事长。
1942年,斯坦·李应征入伍。在美国陆军,他主要是写写训练手册、宣传口号,还间或画些宣传的卡通画。他的正式军职是“剧作家”。1945年,二战结束,斯坦·李回到纽约,重操旧业。
20世纪50年代末,斯坦·李开始对自己的职业生涯感到不满,并萌生了退出漫画界的想法。恰在那时,神奇漫画公司的对手DC漫画开始进军超级英雄题材。古德曼要求斯坦·李也在漫画中创造出一个超级英雄组合。
在搭档漫画家杰克·科比的协助下,1961年11月,漫画史上的另外一个超级英雄组合诞生,他们就是《神奇四侠》。在随后的日子里,他在漫画家杰克·科比、史蒂夫·迪托的协助下创作出了《钢铁侠》、《绿巨人》、《雷神托尔》、《X战警》、《奇异博士》、《超胆侠》等漫画角色,他也是《蜘蛛侠》的主创。斯坦·李以及杰克·科比、史蒂夫·迪托创造出了后来被称为“神奇模式”的漫画创作流程。这一流程一般是主创斯坦·李提出故事的大纲和结构,画家杰克·科比负责绘画和对一些小场景和情节的修改,写手史蒂夫·迪托负责所有的对话和最终的一些情节上的修改。
1972年,斯坦·李成为神奇漫画公司的发行人和董事长,从此开始慢慢淡出具体创作。1998年,他离开了神奇漫画公司。他第一次在荧屏上露脸是1989年的电视电影《无敌浩克的审判》。20世纪90年代末,斯坦·李成立了“斯坦·李传媒”公司,希望可以制作各种娱乐产品,包括游戏和网络漫画,但由于经营不善,这家公司于2001年破产。 2000年,他客串出演了《X战警》。2002年,他与人合作创办了POW!娱乐公司 ;同年,他出现在电影《蜘蛛侠》中。接下来,他又相继客串出演了《超胆侠》、《绿巨人》、《蜘蛛侠2》、《神奇四侠》、《X战警3》、《神奇四侠2》、《蜘蛛侠3》、《钢铁侠》、《无敌浩克》、《生活大爆炸第三季》、《钢铁侠2》等电影。
2010年4月,迪士尼和斯坦·李宣布共同推出三部电影,都将由POW!娱乐公司制作拍摄 。同年7月,他宣布推出漫画系列《超级七人组》 。
2011年1月4日,88岁的斯坦·李留名好莱坞星光大道,成为第2428位在星光大道留名的名星 。之后,他又相继客串出演了《雷神》、《美国队长》、《复仇者联盟》、《超凡蜘蛛侠》、《雷神2》、《美国队长2》、《超凡蜘蛛侠2》、《银河护卫队》等电影 。