美剧英雄第一季
“Save the cheerleader, save the world.“
As a total eclipse casts its shadow across the Earth, pioneering genealogist Chandra Suresh discovers that Mankind has entered its next stage of evolution: people with super powers live among us. However, in the course of his investigations, Chandra is murdered, and so is it up to his son, Mohinder, to complete his work. Mohinder’s path intersects with many of these superhumans: a politician who can fly; a pretty cheerleader who is indestructible; an artist whose heroin addiction enables him to paint images foretelling the future; an office worker who can stop time and teleport great distances; a single-mother with a homicidal alternate personality; a policeman who can hear people’s thoughts; and an elusive serial killer whose powers are matched only by his capacity for sadism. All these people have one thing in common: their ultimate destiny is to save the Earth from nuclear destruction.
‘Heroes’ is billed as a show about ordinary people discovering that they have extraordinary powers. Created by Tim Kring, the series features scripts by highly-acclaimed writers such as Damon Lindelof (co-creator of ‘Lost’), Bryan Fuller (‘Dead Like Me’) and Jeph Loeb (‘Smallville’, ‘Lost’, and comic books featuring ‘Batman’ and the ‘X-Men’). Although the show’s premise is nothing new, sharing similarities with comics such as ‘X-Men’ and ‘Rising Stars’, the story is told in a refreshingly innovative way, full of intriguing characters, multi-layered plotlines, and surprising twists and turns that leave the viewer desperate for more; the look of the show is particularly slick and stylish, and it should be - each episode costs $2 million to make!
When the first few episodes of ‘Heroes’ were met with huge acclaim, NBC wasted no time in commissioning the series for a full run of twenty-three episodes. With the show’s future looking promising, it will be interesting to see what lies in store for our Heroes…
第一集-------’In His Own Image’--------
Story Code: ’101’
by Tim Kring
Care worker Peter Petrelli dreams of flying through the skies above New York, much to the annoyance of his brother, Nathan, a ruthless politician currently standing for election… Trying her best to support her son Micah, single mother Nikki Sanders is forced to sell her body via an internet webcam; when she is later assaulted by two debt-collecting thugs, Nikki blacks out; coming to, she is shocked to find that her attackers have somehow been brutally murdered. As Nikki leaves her house, she glimpses her reflection in the mirror – the image moves independently, and smiles knowingly… Elsewhere, high school cheerleader Claire Bennet explores her newly-discovered indestructibility, surviving a fall from eighty feet and then saving a man from a burning building... Artist Isaac Mendez tells his girlfriend, Simone, that the pictures he paints under the influence of heroin can foretell the future; however, one of these images portrays a nuclear explosion in the heart of New York… In Tokyo, office worker and comic book nerd Hiro Nakamura astounds his co-worker Ando with the revelation that he can bend space and time; then Hiro teleports himself to Times Square… Meanwhile, Madras University lecturer Mohinder Suresh learns that his father, pioneering genealogist Chandra Suresh, has been murdered whilst driving a New York cab. Vowing to find out why his father was killed, Mohinder decides to continue Chandra’s work into the manifestation of super-human powers, seen as the next stage of Mankind’s evolution. However, soon after arriving in New York, Mohinder finds that someone else is after his father’s work – and they will stop at nothing to get it…
第二集-------’Don’t Look Back’----------
Story Code: ’102’
by Tim Kring
After jumping off a building to prove he could fly, Peter was saved by Nathan, who flew up to catch him. But when Peter awakes in hospital, he finds that his brother now denies all knowledge of the event – it seems that Nathan’s election campaign is far more important to him than his family… Claire is unaware that the video footage of her indestructibility has fallen into the hands of her adopted father – the same man who menaced Mohinder in his cab... After meeting a friend of his father’s, Monhinder finds a hidden data disk, and learns of a mysterious killer named Sylar… Having teleported to New York, Hiro finds a comic book that recounts his every word and deed… Recovering in hospital from a heroin overdose, Isaac, the author of Hiro’s comic, worries Simone with talk of a nuclear explosion. After experiencing another blackout, Nikki finds the keys to a new car and a series of instructions from herself on how to deal with the bodies of the two murdered thugs… Attending a horrific murder scene, NYPD officer Matt Parkham hears the voice of a young girl, but when he finds the child hiding in a wallspace, he falls under his superior’s suspicions… Hiro tracks down Isaac’s studio, only to finds a dead body with half its head removed; arrested by the police, he is shocked to learn that he has been missing for five weeks…
第三集－－－－－’One Giant Leap’－－－－－
Story Code: ’103’
by Jeph Loeb
While burying the two bodies in the Nevada desert, Nikki finds a skeleton and a ring that links to her estranged husband’s gang… Now back in Tokyo, Hiro shows Ando the comic book he found in New York, which foretells their future; when Hiro uses his abilities to save a schoolgirl from being hit by a truck, Ando agrees to accompany his friend to New York to prevent the nuclear explosion... Peter’s frustration at his failed attempts to fly turns to anger when Nathan exposes his ‘suicide attempt’ to the press... Mohinder and Eden find Chandra’s notebook detailing the names and addresses of people with special abilities; investigating the apartment of the mysterious Sylar, discover a room filled with information on more superhumans, but when they return with the police, they find that the room has been stripped bare... Police officer Matt Parkman is recruited in the quest to locate Sylar, and comes face-to-face with the super-powered assassin… Attending a party to celebrate the victory of the High School football team, Claire becomes the victim of a rape attempt…
Peter Petrelli: 一个30岁的男护士认为自己可以飞。
Diego Medina: 一个28岁的瘾君子在他毒瘾发作时可以画出未来的样子。
Niki Sander: 一个在拉斯维加斯的33岁的女歌舞者发现自己可以利用镜子做一些不可思议的事情。
Hiro Makamura: 一个24岁的日本动漫迷可以让时间停止。
D.L. Hawkins: 一个31岁的监狱犯人可以使用类似Diablo里Teleport魔法技术来穿墙。
Claire Bennet: 一个17岁的拉拉队长在关键时候就能启死回生。
太多了，贴不完，给你网址，自己下载吧。
http://www.clivebanks.co.uk/Heroes%20Timeline.htm
这个网址也很又趣，里面又很多图片，就是剧中surresh还是谁画的那种：
http://www.nbc.com/Heroes/
几道英文语法题, 请高手解答! 我纠结了凌乱了..
我用半英文解释可以吗？中文解释不太容易
1.
连接词“by”用在那里不对
因为句子里没有写
what
is
acting
on
the
verb
“allow“
所以听起来别扭
2.
“as
is“这样用听起来不顺
我知道你要表达的意思
跟第二个一样
不过要表达”像[名词]一样[形容词]“
还是用
“as
[adjective]
as
[noun]“更合适
3.
“preoccupation“不能和“in“一起用
正确用法是“preoccupation
with“
这些错误都是很小的语法错误，虽然小但还是经常犯的错误
所以被挑出来
求一篇8000到10000字左右的英语论文，关于文学题材的就行，要全英文的
1.苏东坡的文学背景和他的赋
SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu
(Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)
Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness during the Sung dynasty, and “pondered, searched, probed, vexed, and criticized”. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）, that mélange adultere of metaphysics, psychology, ethics and casuistry.
Literary criticism in China is an unduly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure, ornate, grotesque,” etc. His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on individual poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.
The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily “ a kingdom is”. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.
The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里）. They have also a better perception of the nuances of emotion than the T’ang poets, as can be seen particularly in their Ts’u （词）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. （3000字）
还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）
如果需要就麻烦您告诉我您的邮箱，再给您发过去。
-genealogist
