DNV发了个《海军舰艇的替代燃料》白皮书，提出降低海军舰艇的碳排放……
于是有了这么个鬼畜玩意……安装风帆和太阳能板(蓝色区域)以实现碳减排的MEKO 5.0……
"The MEKO® 5.0 in a combat state (top), with extended wing sails (bottom left) with areas covered by solar cells highlighted in light blue (bottom right)"
于是有了这么个鬼畜玩意……安装风帆和太阳能板(蓝色区域)以实现碳减排的MEKO 5.0……
"The MEKO® 5.0 in a combat state (top), with extended wing sails (bottom left) with areas covered by solar cells highlighted in light blue (bottom right)"
《立冬》李白 .唐
冻笔新诗懒写，寒炉美酒时温。
醉看墨花月白，恍疑雪满前村。
The Start of Winter
By LI Bai (Tang Dynasty)
The ink brush's freezed, just lazy I verse not at all；
The wine is often heated on the fire stove small.
Drunk I see patterns on ink stone in white moon light；
I doubt they look like the front village full snow white.
冻笔新诗懒写，寒炉美酒时温。
醉看墨花月白，恍疑雪满前村。
The Start of Winter
By LI Bai (Tang Dynasty)
The ink brush's freezed, just lazy I verse not at all；
The wine is often heated on the fire stove small.
Drunk I see patterns on ink stone in white moon light；
I doubt they look like the front village full snow white.
#每日中华文化专词双译# 【脱窠臼】
脱窠臼 Avoid Stereotypes
指戏曲创作应摆脱陈旧的创作模式。所谓窠臼，不仅指以往作品的窠臼，还包括创作者个人的窠臼。由明末清初曲论家李渔（1611—1680）在《闲情偶寄》中提出。李渔认为，戏曲创作的取意、填词应力求新颖，不能蹈袭前人，才可称得上“传奇”。这一术语的提出既是为了满足观众的审美心理，也体现了文艺创作必须创新求变的宗旨。
This term means that a writer should not fall into old patterns when writing a drama. He should not only avoid stereotypes of previous works but also resist attempts to do so in his own creations. The term was proposed by late Ming to early Qing drama theorist Li Yu (1611-1680) in his "Occasional Notes with Leisure Motions." In his view, dramatic creations should be original in both content and wording, and previous works should not be blindly followed. Only such works deserve to be called chuanqi (legendary story). This call to avoid stereotypes was made to encourage creativity and variety in artistic pursuit to delight the audience.
引例 Citation：
◎吾谓填词之难，莫难于洗涤窠臼，而填词之陋，亦莫陋于盗袭窠臼。（李渔《闲情偶寄·词曲部》）
我认为填写曲词的困难之处，莫过于洗净一切陈旧的套路，而填写曲词的鄙陋之处，也莫过于盗取袭用已有的套路。
The greatest difficulty in writing lyrics, I believe, lies in ridding them of stereotypes, and the thing not to do when writing such lyrics is to copy old stereotypes. (Li Yu: Occasional Notes with Leisure Motions)
脱窠臼 Avoid Stereotypes
指戏曲创作应摆脱陈旧的创作模式。所谓窠臼，不仅指以往作品的窠臼，还包括创作者个人的窠臼。由明末清初曲论家李渔（1611—1680）在《闲情偶寄》中提出。李渔认为，戏曲创作的取意、填词应力求新颖，不能蹈袭前人，才可称得上“传奇”。这一术语的提出既是为了满足观众的审美心理，也体现了文艺创作必须创新求变的宗旨。
This term means that a writer should not fall into old patterns when writing a drama. He should not only avoid stereotypes of previous works but also resist attempts to do so in his own creations. The term was proposed by late Ming to early Qing drama theorist Li Yu (1611-1680) in his "Occasional Notes with Leisure Motions." In his view, dramatic creations should be original in both content and wording, and previous works should not be blindly followed. Only such works deserve to be called chuanqi (legendary story). This call to avoid stereotypes was made to encourage creativity and variety in artistic pursuit to delight the audience.
引例 Citation：
◎吾谓填词之难，莫难于洗涤窠臼，而填词之陋，亦莫陋于盗袭窠臼。（李渔《闲情偶寄·词曲部》）
我认为填写曲词的困难之处，莫过于洗净一切陈旧的套路，而填写曲词的鄙陋之处，也莫过于盗取袭用已有的套路。
The greatest difficulty in writing lyrics, I believe, lies in ridding them of stereotypes, and the thing not to do when writing such lyrics is to copy old stereotypes. (Li Yu: Occasional Notes with Leisure Motions)
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