Advertisement
| being funny in a foreign language producer: I Wanna Be a Producer John Breglio, 2016-04-01 (Applause Books). What does a producer actually do? How does one travel from that great idea for a show to a smash hit opening night on Broadway? John Breglio cannot guarantee you a hit, but he does take the reader on a fascinating journey behind-the-scenes to where he himself once stood as a child, dreaming about the theatre. Part memoir, part handbook, I Wanna Be a Producer is a road map to the hows and wherefores, the dos and don'ts of producing a Broadway play, written by a Broadway veteran with more than 40 years of experience. This comprehensive and highly informative book features practical analysis and concepts for the producer and is filled with entertaining anecdotes from Breglio's illustrious career as a leading theatrical lawyer and producer. Breglio recounts not only his first-hand knowledge of the crucial legal and business issues faced by a producer, but also his experiences behind the scenes with literally hundreds of producers, playwrights, composers, and directors, including such theatre luminaries as Michael Bennett, Joe Papp, Stephen Sondheim, Andrew Lloyd Webber, Patti Lupone, August Wilson, and Mel Brooks. Whether you are a working or aspiring producer, an investor, or are just curious about the backstage reality of the theater, Breglio shares his knowledge and experience of the industry, conveying practical information set against the real-life stories of those who have devoted their lives to the craft. |
| being funny in a foreign language producer: Foreign Language Films and the Oscar Michael S. Barrett, 2018-08-29 The Academy Awards--that yearly Hollywood bash that brings together the glamour and glitz of the international film industry--is highly revered yet has been minimally explored beyond the category of Best Picture. Over the last decade, more than 2,000 films have been submitted for the title of Best Foreign Language Film. Of those, 312--including Italy's 8 1⁄2, Sweden's Through a Glass Darkly and Mexico's Pan's Labyrinth, as well as Denmark's lesser-known Harry and the Butler, Yugoslavia's I Even Met Happy Gypsies and Nicaragua's Alsino and the Condor--have received nominations. This guide lists each nominee--from the first-honored Shoeshine in 1948 through Iran's second Oscar winner, The Salesman, in 2017--chronologically and includes synopses, basic facts about personnel and production qualities, and rankings among annual competitors that often differ from those of the Academy. |
| being funny in a foreign language producer: New York Star , 1923 |
| being funny in a foreign language producer: The Producers Mel Brooks, Tom Meehan, 2001-11-28 This is the laugh-out-loud story of two scheming men, Bialystock, a shady producer, and Bloom, his nervous accomplice. Together they come up with the ultimate con: raise more money than needed, produce a show that is bound to flop, and pocket the change. Of course, all best laid plans are subject to be mucked up. |
| being funny in a foreign language producer: The Outlook , 1925 |
| being funny in a foreign language producer: Film TV Daily Yearbook of Motion Pictures and Television , 1970 |
| being funny in a foreign language producer: Billboard , 1964-02-01 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Too Funny for Words David Kalat, 2019-04-26 American silent film comedies were dominated by sight gags, stunts and comic violence. With the advent of sound, comedies in the 1930s were a riot of runaway heiresses and fast-talking screwballs. It was more than a technological pivot--the first feature-length sound film, The Jazz Singer (1927), changed Hollywood. Lost in the discussion of that transition is the overlap between the two genres. Charlie Chaplin, Buster Keaton and Harold Lloyd kept slapstick alive well into the sound era. Screwball directors like Leo McCarey, Frank Capra and Ernst Lubitsch got their starts in silent comedy. From Chaplin's tramp to the witty repartee of His Girl Friday (1940), this book chronicles the rise of silent comedy and its evolution into screwball--two flavors of the same genre--through the works of Mack Sennett, Roscoe Arbuckle, Harry Langdon and others. |
| being funny in a foreign language producer: The Complete Idiot's Guide to Classic Movies Lee Pfeiffer, 2006-11-07 Sit back, grab some popcorn, and let the credits roll. The Complete Idiot’s Guide® to Classic Movies provides comprehensive information on the best classic films from the silent era up through 1969, cross-referenced several different ways for easy access. Also contains fun, “insider” trivia and facts about the movies, the stars, and factors that influenced the movie or the audience at the time of the movie’s release. • Written by a recognized name in the industry who has written books on movies and film for decades • Features only the best movies (3 and 4 stars) from the silent era up through 1969 • Offers several indexes, which are cross-referenced alphabetically by actor and director, in addition to the main text being indexed by film name and genre • Includes appendices that provide information on the top 100 films of all time, the greatest movie quotes, Academy Award winners, and Internet references for locating hard-to-find films |
| being funny in a foreign language producer: Billboard , 1966-11-05 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Exploring Challenging Picturebooks in Education Åse Marie Ommundsen, Gunnar Haaland, Bettina Kümmerling-Meibauer, 2021-08-05 What should children and students read? This volume explores challenging picturebooks as learning materials in early childhood education, primary and secondary school, and even universities. It addresses a wide range of thematic, cognitive, and aesthetic challenges and educational affordances of picturebooks in various languages and from different countries. Written by leading and emerging scholars in the field of picturebook studies and literacy research, the book discusses the impact of challenging picturebooks in a comprehensive manner and combines theoretical considerations, picturebook analyses, and empirical studies with children and students. It introduces stimulating picturebooks from all continents and how they are used or may be used in educational settings and contexts. The chapters touch on subjects like reading promotion, second-language acquisition, art education, interdisciplinary learning, empathy development, minority issues, and intercultural competence. Moreover, they consider relevant aspects of the educational environments, such as the inclusion of picturebooks in the curriculum, the significance of school libraries, and the impact of publishers. Exploring Challenging Picturebooks in Education sheds new light on the multiple dimensions relevant to investigating the impact of picturebooks on learning processes and the development of multimodal literacy competencies. It thus makes a significant contribution to the growing area of picturebook research and will be key reading for educators, researchers, and post-graduate students in the field of literacy studies, children’s literature, and education research. |
| being funny in a foreign language producer: Tinderbox James Andrew Miller, 2021-11-23 Tinderbox tells the exclusive, explosive, uninhibited true story of HBO and how it burst onto the American scene and screen to detonate a revolution and transform our relationship with television forever. The Sopranos, Game of Thrones, Sex and the City, The Wire, Succession...HBO has long been the home of epic shows, as well as the source for brilliant new movies, news-making documentaries, and controversial sports journalism. By thinking big, trashing tired formulas, and killing off cliches long past their primes, HBO shook off the shackles of convention and led the way to a bolder world of content, opening the door to all that was new, original, and worthy of our attention. In Tinderbox, award-winning journalist James Andrew Miller uncovers a bottomless trove of secrets and surprises, revealing new conflicts, insights, and analysis. As he did to great acclaim with SNL in Live from New York; with ESPN in Those Guys Have All the Fun; and with talent agency CAA in Powerhouse, Miller continues his record of extraordinary access to the most important voices, this time speaking with talents ranging from Abrams (J. J.) to Zendaya, as well as every single living president of HBO—and hundreds of other major players. Over the course of more than 750 interviews with key sources, Miller reveals how fraught HBO’s journey has been, capturing the drama and the comedy off-camera and inside boardrooms as HBO created and mobilized a daring new content universe, and, in doing so, reshaped storytelling and upended our entertainment lives forever. |
| being funny in a foreign language producer: Becoming a Film Producer Boris Kachka, 2021-05-25 A revealing guide to a career as a film producer written by acclaimed author Boris Kachka and based on the real-life experiences of award-winning producers—required reading for anyone considering a path to this profession. At the center of every successful film is a producer. Producers bring films to life by orchestrating the major players—screenwriters, directors, talent, distributors, financiers—to create movie magic. Bestselling author and journalist Boris Kachka shadows award-winning producers Fred Berger and Michael London and emerging producer Siena Oberman as movies are pitched, financed, developed, shot, and released. Fly between Los Angeles and New York, with a stop in Utah at the Sundance Film Festival, for a candid look at this high-stakes profession. Learn how the industry has changed over the decades—from the heyday of studios to the reign of streaming platforms. Gain insight and wisdom from these masters’ years of experience producing films, from the indie darlings Sideways and Milk to Academy Award–winning blockbusters like La La Land. Here is how the job is performed at the highest level. |
| being funny in a foreign language producer: Television Opportunities , 1950 |
| being funny in a foreign language producer: The Brain is the Screen Gregory Flaxman, 2000 The first broad-ranging collection on Deleuze’s essential works on cinema. In the nearly twenty years since their publication, Gilles Deleuze’s books about cinema have proven as daunting as they are enticing—a new aesthetics of film, one equally at home with Henri Bergson and Wim Wenders, Friedrich Nietzsche and Orson Welles, that also takes its place in the philosopher’s immense and difficult oeuvre. With this collection, the first to focus solely and extensively on Deleuze’s cinematic work, the nature and reach of that work finally become clear. Composed of a substantial introduction, twelve original essays produced for this volume, and a new English translation of a personal, intriguing, and little-known interview with Deleuze on his cinema books, The Brain Is the Screen is a sustained engagement with Deleuze’s cinematic philosophy that leads to a new view of the larger confrontation of philosophy with cinematic images.Contributors: Éric Alliez, U of Vienna; Dudley Andrew, U of Iowa; Peter Canning; Tom Conley, Harvard U; András Bálint Kovács, ELTE U, Budapest; Gregg Lambert, Syracuse U; Laura U. Marks, Carleton U; Jean-Clet Martin, Collége International de Philosophie, Paris; Angelo Restivo; Martin Schwab, U of Michigan; François Zourabichvili, Collége International de Philosophie.Gregory Flaxman is a doctoral student in the Program of Comparative Literature and Literary Theory at the University of Pennsylvania. |
| being funny in a foreign language producer: Penelope Fitzgerald Hermione Lee, 2014-11-18 ONE OF THE NEW YORK TIMES BOOK REVIEW’ S 10 BEST BOOKS OF THE YEAR A Best Book of the Year: San Francisco Chronicle, Seattle Times Winner of the Plutarch Award for Best Biography The acclaimed biographer of Edith Wharton and Virginia Woolf gives us an intimate portrait of one of the most quietly brilliant novelists of the twentieth century. Penelope Fitzgerald was a great English writer whose career didn't begin until she was nearly sixty. She would go on to win some of the most coveted awards in literature—the Booker Prize and the National Book Critics Circle Award. Now, in an impeccable match of talent between biographer and subject, Hermione Lee, a master biographer and one of Fitzgerald's greatest champions, gives us this remarkable writer’s story. Lee’s critical expertise is on dazzling display on every page, as it illuminates this extraordinary English life. Fitzgerald, born into an accomplished intellectual family, the granddaughter of two bishops, led a life marked by dramatic twists of fate, moving from a bishop’s palace to a sinking houseboat to a last, late blaze of renown. We see Fitzgerald’s very English childhood in the village of Hampstead; her Oxford years, when she was known as the “blonde bombshell”; her impoverished adulthood as a struggling wife, mother and schoolteacher, raising a family in difficult circumstances; and the long-delayed start to her literary career. Fitzgerald’s early novels draw on her own experiences—working at the BBC in wartime, at a bookshop in Suffolk, at an eccentric stage school in the 1960s—while her later books open out into historical worlds that she, magically, seems to entirely possess: Russia before the Revolution, postwar Italy, Germany in the time of the Romantic writer Novalis. Fitzgerald’s novels are short, spare masterpieces, and Hermione Lee unfurls them here as works of genius. Expertly researched, written out of love and admiration for this wonderful author’s work, Penelope Fitzgerald is literary biography at its finest—an unforgettable story of lateness, persistence and survival. |
| being funny in a foreign language producer: New York Magazine , 1983-05-02 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| being funny in a foreign language producer: The Oxford Companion to the American Musical Thomas S. Hischak, 2008 A dictionary of short entries on American musicals and their practitioners, including performers, composers, lyricists, producers, and choreographers |
| being funny in a foreign language producer: New York Magazine , 1983-05-09 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| being funny in a foreign language producer: Billboard , 2001-10-20 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Shakespeare Alive! Joseph Papp, Elizabeth Kirkland, 1988-01-01 From Joseph Papp, American’s foremost theater producer, and writer Elizabeth Kirkland: a captivating tour through the world of William Shakespeare. Discover the London of Shakespeare's time, a fascinating place to be—full of mayhem and magic, exploration and exploitation, courtiers and foreigners. Stroll through narrow, winding streets crowded with merchants and minstrels, hoist a pint in a rowdy alehouse, and hurry across the river to the open-air Globe Theater to see that latest play written by a young man named Will Shakespeare. Shakespeare Alive! spirits you back to the very years of that London—as everyday people might have experienced it. Find out how young people fell in love, how workers and artists made ends meet, what people found funny and what they feared most. Go on location with an Elizabethan theater company to learn how plays were produced, where Shakespeare’s plots came from and how he transformed them. Hear the music of Shakespeare’s language and words we still use today that were first spoken in his time. Open the book and elbow your way into the Globe with the groundlings. You’ll be joining one of the most democratic audiences the theater has ever known—alewives, apprentices, shoemakers and nobles—in applauding the dazzling wordplay and swordplay brought to you by William Shakespeare. |
| being funny in a foreign language producer: Editor & Publisher , 1914 |
| being funny in a foreign language producer: Sid Caesar and Your Show of Shows Karen J. Harvey, 2020-12-11 In the early days of television, comedy often meant stale vaudeville routines and stand-up. Then, in 1950, a new comedy-variety show debuted on NBC--Your Show of Shows. Its gifted and mercurial star, Sid Caesar, talented ensemble cast and superb writing staff--including Mel Brooks, Neil Simon, Lucille Kallen and Mel Tolkin--would create comedy designed for the new medium and provide a template for successful shows that followed. With rare illustrations and the most complete sketch guide yet compiled, this book highlights Caesar's reputation as a brilliant comic actor and describes the writing and production of the weekly live broadcast that kept 60 million TV viewers home on Saturday nights. |
| being funny in a foreign language producer: The Creative Choir James Neilson Graham, 2015-05-25 Choral singing is enjoying a renaissance, and this timely book contributes to our understanding of what choir work can and should be about. Starting from the idea that education underpins the rehearsal process, James Neilson Graham delves into the theory and practice of working with singers, drawing on the insights of Emile Jaques-Dalcroze in relation to movement and Valborg Werbeck-Svärdström in relation to the voice. Singing is an aspect of our common humanity and the health of the socio-musical organism finds its reflection in the choral sound. How can the individual flourish in the midst of so many? How can the conductor facilitate the process? In lively fashion (with more than seventy music examples, diagrams and illustrations), James Neilson Graham challenges orthodoxies and opens up new developmental pathways for the choir leader and the choral singer. |
| being funny in a foreign language producer: Bended Loyalty Kat Caldwell, 2024-09-23 When the spotlight dims, the real battles begin. For Tristen Levisay, guitarist of The Seethers, life is finally coming together. The band is on the brink of stardom, and soon he'll be a rock star instead of the poor, small-town boy from Kentucky. But when his twin brother Talon, the band's frontman, abruptly leaves to join another band, Tristen's life quickly falls apart. Forced to start again, Tristen returns home where he discovers his former addict mother is on the verge of losing her house. To save her, and himself, he returns to his old life of underground boxing. Just a few fights to save some money, and then he’s out. But returning home inevitably means revisiting old family secrets and memories. Soon Tristen finds himself fighting both in and out of the ring to salvage his family and reclaim his future. Bended Loyalty is a powerful story of betrayal, resilience, and the mendable bonds of family. As Tristen navigates the shadows of the boxing world, he learns the age-old adage that true loyalty comes with a price. Will he find the strength to forge a new path, or will the weight of his brother's betrayal knock him down for good? . |
| being funny in a foreign language producer: Outlook and Independent , 1925 |
| being funny in a foreign language producer: The New Yorker , 1978 |
| being funny in a foreign language producer: New York Magazine , 1970-05-04 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| being funny in a foreign language producer: New York Magazine , 1970-06-22 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| being funny in a foreign language producer: Weird Tales 349 - 85th Anniversary Issue Ann VanderMeer, 2009-01-01 The mammoth 85th Anniversary Issue of The Unique Magazine features: FICTION: Heart of Ice by Tanith Lee; Creature by Ramsey Shehadeh; The Yellow Dressing Gown by Sarah Monette; The Talion Moth by John Kirk; Detours on the Way to Nothing by Rachel Swirsky; Black Petals (new Elric novella) by Michael Moorock. SPECIAL FEATURE: The 85 Weirdest Storytellers of the Past 85 Years. POETRY: A Compleynte on the Deth of Sir William Thatcher, Sumtyme Ycleped Ulrich of Lichtenstein by Geoffrey Chaucer. NONFICTION: Interview: Jeff VanderMeer chats with weird fantasy novelist China Mieville; Weirdism: Stephen Geigen-Miller on his pulp-fiction heritage; Lost Pages: Ira Marcks presents a snapshot of modern Innsmouth...; Lost in Lovecraft: ...and Kenneth Hite explores why H.P.L.'s characters sought asylum in Arkham; Excerpt: Csilla Csori discusses the science of Dune's gholas and how to raise the dead; The Bazaar: Cherie Priest meets a steampunk Cthulhoid amulet crafter; The Cryptic: Darrell Schweitzer on the enduring power of the Blob; The Library: Book reviews. |
| being funny in a foreign language producer: Films for Television , 1962 |
| being funny in a foreign language producer: Billboard , 1948-02-28 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Fat, Drunk, and Stupid Matty Simmons, 2012-04-10 In 1976 the creators of National Lampoon, America's most popular humor magazine, decided to make a movie. It would be set on a college campus in the 1960s, loosely based on the experiences of Lampoon writers Chris Miller and Harold Ramis and Lampoon editor Doug Kenney. They named it Animal House, in honor of Miller's fraternity at Dartmouth, where the members had been nicknamed after animals. Miller, Ramis, and Kenney wrote a film treatment that was rejected and ridiculed by Hollywood studios—until at last Universal Pictures agreed to produce the film, with a budget of $3 million. A cast was assembled, made up almost completely of unknowns. Stephen Furst, who played Flounder, had been delivering pizzas. Kevin Bacon was a waiter in Manhattan when he was hired to play Chip. Chevy Chase was considered for the role of Otter, but it wound up going to the lesser-known Tim Matheson. John Belushi, for his unforgettable role as Bluto, made $40,000 (the movie's highest-paid actor). For four weeks in the fall of 1977, the actors and crew invaded the college town of Eugene, Oregon, forming their own sort of fraternity in the process. The hilarious, unforgettable movie they made wound up earning more than $600 million and became one of America's most beloved comedy classics. It launched countless careers and paved the way for today's comedies from directors such as Judd Apatow and Todd Phillips. Bestselling author Matty Simmons was the founder of National Lampoon and the producer of Animal House. In Fat, Drunk, and Stupid, he draws from exclusive interviews with actors including Karen Allen, Kevin Bacon, Peter Riegert, and Mark Metcalf, director John Landis, fellow producer Ivan Reitman, and other key players—as well as behind-the-scenes photos—to tell the movie's outrageous story, from its birth in the New York offices of the National Lampoon to writing a script, assembling the perfect cast, the wild weeks of filming, and, ultimately, to the film's release and megasuccess. This is a hilarious romp through one of the biggest grossing, most memorable, most frequently quoted, and most celebrated comedies of all time. |
| being funny in a foreign language producer: I Was Never Alone La Shawn Butler, 2011-07-29 How your faith can be tested. |
| being funny in a foreign language producer: Billboard , 1951-05-05 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Films and Filming , 1957 |
| being funny in a foreign language producer: Music at Michigan , 2001 |
| being funny in a foreign language producer: Moving Picture World and View Photographer , 1916 |
| being funny in a foreign language producer: Billboard , 1943-07-24 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| being funny in a foreign language producer: Vanity Fair Frank Crowninshield, 1933 |
英语中being的用法？ - 知乎
being 表示生物——a living creature human beings a strange being from another planet. being 表示人的情感\本质——your mind and all of your feelings. I hated Stefan with my whole being. 此 …
有大佬知道is doing和 is being用法区别吗？？ - 知乎
being. been. am. is. are. was. were. 以上仅仅是一个be动词的情况，当be 动词和其它动词进行组合排列形成主被动的时候，情况会进一步复杂， 如： was/were to be. am/is/are to be. was/were being. …
怎么理解西方哲学的 being？ - 知乎
Being理所应当地成为了实在的根本和终极要素。 当巴门尼德把“being”当作一个特殊的“什么”来予以追问，这就开创了本体论的传统。巴门尼德推论的关键在于利用希腊语中eimi具有“是”（系动词）和“存在”（动词）的双重性来 …
being什么时候用？ - 知乎
being. been. am. is. are. was. were. 以上仅仅是一个be动词的情况，当be 动词和其它动词进行组合排列形成主被动的时候，情况会进一步复杂， 如： was/were to be. am/is/are to be. was/were being. …
He is being smart中为什么加个being，直接去掉不更好吗? - 知乎
He is being smart. 本来聪明是一个特性，加上进行时就变成展示、表现这种特性(确实具有该特性)，又或者故意伪装这种特性(并不具有该特性)。所以He is being smart有两种意思，一个是"他表现得很聪明"，以及"他假装 …
英语中being的用法？ - 知乎
being 表示生物——a living creature human beings a strange being from another planet. being 表示人的情感\本质——your mind and all of your feelings. I hated Stefan with my whole being. …
有大佬知道is doing和 is being用法区别吗？？ - 知乎
being. been. am. is. are. was. were. 以上仅仅是一个be动词的情况，当be 动词和其它动词进行组合排列形成主被动的时候，情况会进一步复杂， 如： was/were to be. am/is/are to be. …
怎么理解西方哲学的 being？ - 知乎
Being理所应当地成为了实在的根本和终极要素。 当巴门尼德把“being”当作一个特殊的“什么”来予以追问，这就开创了本体论的传统。巴门尼德推论的关键在于利用希腊语中eimi具有“是”（系 …
being什么时候用？ - 知乎
being. been. am. is. are. was. were. 以上仅仅是一个be动词的情况，当be 动词和其它动词进行组合排列形成主被动的时候，情况会进一步复杂， 如： was/were to be. am/is/are to be. …
He is being smart中为什么加个being，直接去掉不更好吗? - 知乎
He is being smart. 本来聪明是一个特性，加上进行时就变成展示、表现这种特性(确实具有该特性)，又或者故意伪装这种特性(并不具有该特性)。所以He is being smart有两种意思，一个是"他 …
Being 和 Existence 意思上有什么差别？在什么语境下使用？ - 知乎
Mar 22, 2015 · being 在哲学用语上意义似乎是最广的：Something that exists or is conceived as existing.（Used in philosophical language as the widest term applicable to all objects of sense …
如何关闭 Bing 安全搜索的严格模式？ - 知乎
如题，见图。如何关闭Bing的安全搜索？或者取消安全搜索的严格模式？参考资料，修改该设置，需要先修改区…
论文投稿时要求提交Author Agreement，该怎么弄？ - 知乎
We the undersigned declare that this manuscript entitled “文章标题” is original, has not been published before and is not currently being considered for publication elsewhere. We would …
伦理学中的「well-being」应该如何翻译成中文？ - 知乎
well-being要是直译的话，翻译作“好的存在状态”。well就是好，being就是存在。一定要强调它规范性的一面的话，那就翻译作“应该变成的状态”。但我觉得，“幸福”，“福利”，“福祉”，“生活质 …
edge浏览器网页与此站点链接不安全怎么解决？ - 知乎
Sep 19, 2021 · 知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎 …
