約 4,341,532 件
https://w.atwiki.jp/vocaloidenglishlyric/pages/667.html
【Tags Len Nem tS S】 Original Music title スーパーヒーロー English music title Super Hero Romaji music title Suupaa Hiiroo Music Lyrics written, Voice edited by Nem Music arranged by Nem Singer(s) 鏡音レン (Kagamine Len) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： When I was young, I admired That invincible, red-caped man; In these immoral times, A hero like that is just what we need... 1 Doing trash-collecting, 2 Saving lost kittens, 3 Stopping bullies, 4 Punishing thieves... Now, just like he did, I shall administer justice! Leave it to me, I m a super hero!! I won t forgive your petty crimes After fighting a thousand deadly battles, I arrived at this conclusion... "The real evil... is in the government...!" For the greatest plot in history, Innocent people had to be sacrificed But you understand, don t you? This is all to stop the true enemy... Follow me, I m a super hero!! The time has come to change the world Call me insane? Call me a murderer? You re the ones who are evil! Terrorist, you say? That s outrageous! Hey, where do you think you re taking me?! I protect everyone, this town, this world, and you! I m your great and noble hero!! This wasn t the way it ended on TV... All I wanted was to be like you, that was all... You re wrong, I m not insane, And justice can t have lost... A hero who carries my will Will appear anew to destroy evil... Romaji lyrics (transliterated by vgboy / vgperson)： Osanai koro, akogareta Muteki no akai manto Moraru no nai gendai ni Hitsuyou nano wa sonna hiiroo [Ichi,] gomi hiroi ni isoshinde [Ni,] maigo no koneko tasuke [San,] ijimekko kechirashite [Shi,] Settouhan korashimete Kondo wa boku ga kare no you ni Seigi o kudasunda! Boku ni makase na I m A SUPER HERO!! Chiisa na aku mo yurusanai Ikusen no shitou o norikoete Tadoritsuita ketsuron to wa "Hontou no aku wa kenryoku no naka ni iru...!" Shijousaidai no sakusen Tsumi no nai shimin ga gisei ni natta Dakedo wakaru darou? Kore mo shin no teki taosu tame sa Boku ni tsudzuke yo I m A SUPER HERO!! Kono sekai o kaeru toki da Ki ga kurureta toka hitogoroshi da toka Yobu yatsu wa soitsu ga aku da! Terorisuto datte? Sonna baka na Oi doko ni tsureteikunda!? Minna o, machi o, sekai o, kimi o Mamotta hiiroo-sama da zo!! Terebi wa konna ketsumatsu janakatta Tada anata no you ni naritakatta dake nano ni... Boku wa kurutte nanka nai Seigi ga makeru hazu nai Ishi o tsugu hiiroo ga Araware aku o horobosunda
https://w.atwiki.jp/vocaloidenglishlyric/pages/475.html
【Tags Gakupo Kiyoteru Re nG tD D】 Original Music title 溺惑 English music title Drown And Lost Romaji music title Dekiwaku Lyrics written by yuki Music written by Re nG Music arranged by Re nG Singer(s) 神威がくぽ (Kamui Gakupo / Camui Gackpo / Gackpoid), 氷山キヨテル (Hiyama Kiyoteru) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： I wanna tease you till you cry You cry aloud to beg me to forgive you The dozing face is asking for distorted pleasure I wanna be judged by personal feelings Sharing the sins that have been made over and over I feel pleasure when we stab the excess desire to each other I freed up the entangled mind and enjoyed the passing days When I was shined by the morning sun I realized what I deserved for refusing you day in and day out I entreat you and I’ll destroy you, not to let you go I’ve been bound and I desecrated you but still I feel drawn to you I gaze at you and I’ll tease you, so to burn out If we get together only to be dissolved in tears Let us scramble each other’s warmth till we get tired of it? The setting sun reveals melancholy I wanna be loved no matter pseudo love it may be The fifth finger strokes the nape of the neck I’m in total bliss to relish the real existence I wanna drink up the memories Even if I got to keep doing something heartless The trifled dream will wander in this mortal world forever Vanish me and the future I would get exhausted to atone for With the gluttonous tongue I covered the words of hesitation in making a contract I hurt you and it was twisted, so to make a mark Even if I deceive you and I reveal you still believe me It aches and I agonize Till the voice get hoarse Even if I look down on you, you’re still bound by affection The trembling ecstasy touches bubbles of the water I’m drowning in the shallows I’ll take it off, groan and make you lick the wound I’ll kneel down, kiss and make you go crazy again I’ll gasp, link, force you down and violate you every night till you die I entreat you and I’ll destroy you, not to let you go I’ve been bound and I desecrated you but still I feel drawn to you I gaze at you and I’ll tease you, so to burn out If we get together only to be dissolved in tears Let us scramble each other’s warmth till we get tired of it? The setting sun reveals melancholy Romaji lyrics (transliterated by blacksaingrain)： Naku made itaburitai yurushi wo kou doukoku Yuganda etsuraku wo madoromu kao ga segamu Shijou ni sabakaretai kasaneta tsumi wakeai Amashita yokubou wo sashichigaeru yorokobi Motsureru kokoro wo toite sugiyuku hi medeta Akekure kobanda mukui wo asahi ni terasare shiru Motomete kowashite hanarerarenuyou Shibararetemo kegashitemo mada hikareteru Mitsumete jirashite moetetsukiruyou Musubaretemo nakinurerunara Tagai no nestu wo aku made ubaiaou Urei wo sarasu shayou Uso demo aisaretai unaji wo nazoru koyubi Tsshikana sonzai wo kamimishimerareru shifuku Kioku wo nomihoshitai mujou wo tsuranuitemo Moteasobareru yume towa ni madou utsushiyo Tsugunai tsureta miwai wo kono mi goto keshite Chigiri wo tamerau kotoba wo musaboru shita de umeta Itamete yojirete ato ga nokoruyou Azamuitemo abaitemo mada shinjiteru Uzuite modaete koe ga haterumade Sagesundemo hodasareta mama Minawa ni fureru fueru koukotsukan) Asase de oboreteiru Hagashite umeite kizu wo namesasete Hizamazuite kuchizukete mata kuruwasete Aeide karamete yogoto oshifusete Hazukashimete kotokireru made Motomete kowashite hanarerarenuyou Shibararetemo kegashitemo mada hikareteru Mitsumete jirashite moetetsukiruyou Musubaretemo nakinurerunara Tagai no nestu wo aku made ubaiaou Urei wo sarasu shayou
https://w.atwiki.jp/englishlanguage/pages/244.html
BRI ... Bridge, D. S. Harlow.1997.An Introduction to Computational Linguistics. Blackwell Textbooks in Linguistics. Bridgeman, Loraine I.1965."Nouns before that-clauses in English". Linguistic Research Project, Indiana University. Bridgeman, Loraine I., et al.1965."Further classes of adjectives". Linguistic Research Project, Indiana University. Bridgeman, Loraine I., et al.1965."More classes of verbs in English". Linguistic Research Project, Indiana University. Bridges, M. 1979. "Exordial Tradition and Poetic Individuality in Five OE Hagiographical Poems". English Studies 60 361-79. Brie, F. W. D.1906.The Brut or the Chronicles of England, I. EETS o.s. 131. Bright, J. W.1904.The Gospel of Saint Matthew in West-Saxon, edited from the manuscript. Boston D. C. Heath and Company. Bright, J. W. (ed.)1906.The Gospel of Saint Luke in West-Saxon Edited from the Manuscripts. Boston D.C. Heath. Bright, W. (ed.)1966.Sociolinguistics. The Hague Mouton. Brill, E.1993.Some Advances in Transformation-Based Part of Speech Tagging. Cambridge, MA MIT. Brink, August.1920.Stab und Wort im Gawain Eine stilistische Untersuchung". Halle. Brinton, Laural J.1988/2009.The Development of English Aspectual Systems Aspectualizers and Post-verbal Particles. Cambridge Studies in Linguistics, 49. Cambridge CUP. Brinton, Laurel J.1984."Criteria for Distinguishing the Non-Aspectual Functions of ME Ginnen". General Linguistics 23 235-45. Brinton, Laurel J.1987.Diagrammatic Iconicity in English Syntax. Recherches Semiotiques-Semiotic Inquiry. 7(1) 55-72. Brinton, Laurel J.1987."Iconic Word Order Patterns in Chaucerian Prose", in Semiotics, ed. John Deely and Jonathan Evans, 3-14. Lanham, MD UP of America. Brinton, Laurel J.1988.The Iconicity of Rhetorical Figures Schemes as Devices for Textual Cohesion. Language and Style 21, 2 162-90. Brinton, Laurel J.1994."The Differentiation of Statives and Perfects in Early Modern English The Development of the Conclusive Perfect", Towards a Standard English 1600-1800, ed. D. Stein I. Tieken-Boon van Ostade, 135-70. Berlin Mouton de Gruyter. Brinton, Laurel.1995."Non-anaphoric reflexives in free indirect style expressing the subjectivity of the non-speaker", in Subjectivity and subjectification, ed. D. Stein S. Wright. CUP. Brinton, Laurel J.1996.Pragmatic markers in English Grammaticalization and discourse Functions. Berlin New York Mouton de Gruyter. Brinton, L. 1996. "Attitudes towards Increasing Segmentalization Complex and Phrasal Verbs in English". Journal of English Linguistics 24 186–205. Brinton, Laurel J.1998."Aspectuality and countability". English Language and Linguistics 2 37-63. Brinton, Laurel J.1998."The grammaticalization of whilom A counterexample to unidirectionality?". The 10th International Conference on English Historical Linguistics, Manchester. Brinton, Laurel J.1998."The flowers are lovely; only, they have no scent The evolution of pragmatic marker", in Anglistentag 1997 Giessen Proceedings, ed. R. Borgmeier, H. Grabes A. H. Jucker, pp. 9-33. Trier Wissenschaftlicher Verlag. Brinton, Laurel J.1999." Whilom, as olde stories tellen us The discourse marker whilom in Middle English", in From Arabye to Engelond Medieval Studies in Honour of Mahmoud Manzalaoui on his 75th Birthday, ed. A. E. Christa Canitz G. R. Wieland, 175-99. U. of Ottawa Press. Brinton, Laurel J.2000."The Importance of Discourse Types in Grammaticalization The Case of anon", Textual Parameters in Older Languages, Eds. Susan Herring, Pieter van Reenen, and Lene Schoesler, Amsterdam and Philadelphia, John Benjamins 139-162. Brinton, Laurel J.2000."Grammaticalization versus Lexicalization Reconsidered On the Late Use of Temporal Adverbs". ICEHL11 Handout. Brinton, Laurel.2000.The Structure of Modern English A Linguistic Introduction. Brinton, Laurel J.2001."From matrix clause to pragmatic marker The history of look-forms". Journal of Historical Pragmatics 2 177-99. Brinton, Laurel J. (ed.)2001.Historical Linguistics 1999 selected Papers from the 14th International Conference on Historical Linguistics, Vancouver, 9-13 August 1999. John Benjamins. Brinton, Laurel J.2002."Grammaticalization versus Lexicalization Reconsiered On the late use of temporal adverbs", in English Historical Syntax and Morphology, ed. Teresa Fenego, et al. John Benjamins. Brinton, Laurel J.2004."Subject clitics in English A case of degrammaticalization?", in Corpus Approaches to Grammaticalization in English, ed. Hans Lindquist Christian Mair, pp. 227-56. Amsterdam John Benjamins. Brinton, Laurel J. 2005. "Processes underlying the development of pragmatic markers The case of (I) say", in Opening Windows on Texts and Discourses of the Past, ed. Janne Skaffari, Matti Peikola, Ruth Carroll, Risto Hiltunen Brita Wårvik, pp. 279-299. Amsterdam John Benjamins. Brinton, Laurel.2006."Pathways in the Development of Pragmatic Markers in English"", in The Handbook of the History of English, ed. Ans van Kemenade Bettelou Los, pp. 307-34. Oxford Blackwell Publishing. Brinton, Laurel.2007."The development of I mean Implications for the study of historical pragmatics", in Methods in Historical Pragmatics, ed. Susan Fitzmaurice Irma Taavitsainen, pp. 37-80. Berlin Mouton de Gruyter. Brinton, Laurel.2007."Rise of the adverbial conjunctions {any, each, every} time", in Connectives in the History of English, ed. Ursula Lenker Anneli Meurman-Solin, pp. 77-96. Benjamins. Brinton, Laurel J. 2007. "What s More The Development of pragmatic Markers in the Modern Period." In Of Varying Language and Opposing Creed New Insights into Late Modern English. Ed. Pérez-Guerra, Javier, Dolores González-Álvarez, Jorge L. Bueno-Alonso and Esperanza Rama-Martínez. Berlin Peter Lang. pp. 47-76. Brinton, Laurel J.2008.The Comment Clause in English. Cambridge UP. Brinton, Laurel J. 2010. "From Performative to Concessive Disjunct I/you admit and admittedly", in Language Change and Variation from Old English to Late Modern English A Festschrift for Minoji Akimoto, ed. Merja Kytoe, John Scahill Harumi Tanabe, pp. 279-302. Bern Peter Lang. Brinton, Laurel J. 2014. "The Extremes of Insubordination Exclamatory as if!", Journal of English Linguistics 42(2) 93-113. Brinton, Laurel J. 2015. "Studying Real-Time Change in the Adverbial Subjunctive The Value of the Bank of Canadian English", in Transatlantic Perspectives on Late Modern English, ed. Marina Dossena, pp. 13-36. Amsterdam John Benjamins. Brinton, Laurel J. 2017. The Evolution of Pragmatic Markers in English Pathways of Change. Cambridge Cambridge University Press. Brinton, Laurel J. 2020. "The development and pragmatic function of a non-inference marker That is not to say (that)", in Corpora and the Changing Society Studies in the evolution of English, ed. Paula Rautionaho, Arja Nurmi Juhani Klemola, pp. 251-275. Amsterdam John Benjamins. Brinton, Laurel J. Akimoto, Minoji (eds.)1999.Collocational and Idiomatic Aspects of Composite Predicates in the History of English. Benjamins. Brinton, Laurel L. Arnovick.2006.The English Language A Linguistic History. OUP. Brinton, Laurel J. Tohru Inoue. 2020. "A Far from Simple Matter Revisited The Ongoing Grammaticalization of Far from", in Late Modern English Novel Encounters, ed. Merja Kytö Erik Smitterberg, pp. 272-293. Amsterdam John Benjamins. Brinton, Laurel J. Dieter Stein.1995."Functional renewal", in Historical Linguistics 1993, ed. Henning Andersen, pp. 33-47. Amsterdam John Benjamins. Brinton, Laurel J. Elizabeth Closs Traugott (eds.)2005.Lexicalization and Language Change. CUP. Britain, D.2002"Diffusion, levelling, simplification and reallocation in past tense BE in the English fens". Journal of Sociolinguistics 6(1) 16-43. Britain, D. A. Sundbury.2000."There s sheep and there s penguins drift of the use of singular verb forms of BE in plural existential clauses in New Zealand and Falkland Island English". Essex Research Reports in Linguistics 28 1-32. Britain, D. P. Trudgill.1999."Migration, new-dialect formation and sociolinguistic refunctionalisation reallocation as an outcome of dialect contact". Transactions of the Philological Society 97 245-56. Britain, David A. Sudbury.2002."There s sheep and there s penguins Convergence, drift and slant in New Zealand and Falkland Island English", in Language Change The Interplay of Internal, External and Extra-Linguistic Factors, ed. M. C. Jones E. Esh, pp. 211-40. Berlin Mouton. Britain, David Jenny Cheshire (eds.)2003.Social Dialectology In Honour of Peter Trudgill. John Benjamins. Britain, David (ed.)2007.Language in the British Isles. CUP. Britain, David.2001."Welcome to East Anglia! Two major dialect boundaries in the Fens", in East Anglian English, ed. Jacek Fisiak Peter Trudgill, pp. 217-42. Cambridge D. S. Brewer. Britain, David.1998."A little goes a long way, as far as analysing grammatical variation and change in New Zealand English is concerned/0 ". Essex Research Reports in Linguistics 21 1-32. Britain, L.1778.Rudiments of English Grammar. Louvain. British Library.2000.The Lindisfarne Gospels. The British Library. Britnell, Richard (ed.)2003.The Winchester Pipe Rolls and Medieval English Society. Boydell and Brewer. Brittain, Vera.1936.Honourable Estate. New York. Bitterli, Dieter. 2009. Say What I am Called The Old English Riddles of the Exeter Book and the Anglo-Latin Riddle Tradition. University of Toronto Press. Britton, D. (ed.)1996.English Historical Linguistics 1994 Selected Papers from ICEHL VIII (Edingurgh, 19-23 Septermber 1994). John Benjamins. Britton, Derek.1991."On Middle English She, Sho A Scots Solution to an English Problem". NOWELE 17 3-51.
https://w.atwiki.jp/astrophysics/pages/38.html
ENGLISH PHRASEのページ 天文・あるいは日常生活で役立つかもしれない英語表現をメモっていくページ。 役に立つパージ 科学英語を考える 特に、第6回にかかわれている、 古い情報（読者に知られている情報）は先。 新しい情報（読者に知られていない情報）は後。 は論文を書く際に、自然な流れを作るときに最も注意すべきこと。 第7回あたりに書かれている、 「略語や数字を言葉に書き直す」というルールは，口頭発表の台本を準備するための第一歩 を、口頭発表の際には肝に銘じておく。 初対面の人に、どう呼べばいいかを聞くときは、 "What would you like me to call you?" と言えばよい。 論文編 論文の原則その1 「あいまい(あるいは、幅広い意味があるよう)な表現をしない」こと。なので、"give,take,put,make"などは、できるだけさける。 原則その2 口語表現は用いない。 原則その3(これは別に論文に限らず、一般的な話) 主語が無生物の時には使えない動詞があることに注意すること。 たとえば、"decide"などは主語を無生物にとらないそうだ。そういうときは、"determine"などにかえる。 change changeはdiscreteな変化を表す。"We changed my hair style two times."とかは良いけれども、たとえば、"We changed the value in the range A to B"とか言う場合はあまりよろしくない。連続的な変化を言いたいときは、"vary/adjust"などに言い換える。 come(s) from 口語的なので、"result from"などにかえる。 do 「～する」という意味で使うのであれば、"carry out/execute/perform"などに替えてしまうのが無難。 insist insistは非常に強い表現になるので、"assert/state"などにかえる。 keep keep somethingと言いたいときは、keepのかわりに、"maintain/conserve/preserve"などに言い換える。 be made of~ 論文では"be composed of~"の方が無難。 make 「つくる」という意味で用いるのであれば、"construct/formulate/produce/compose/form"などに替えてしまうのが無難。 この図は~と同じ方法でプロットしたとか言いたいとき This Figure is identical to the ~ plot for ~ in Figure ?. ~に邪魔されない be not disturbed/unhindered Earth s atmosphere 地球の大気に邪魔されない sample selection編 サンプルの優先順位を書きたいときは、例えば When a source was present in more than one compilation, we give priority to the data followed by A, B, and C. 観測編 (It is) near the zenith. ほぼ天頂なので、観測は危険だ、という際によく用いる。 日常生活編 「忘れ物ない？」 Have you had everything? というとよい。気持ちとしては、「全部持った？」という感じ。 「～のレクチャーをしてください。」 Would you give me a lesson(lecture)? というとよい。"Could you~"は「あなたには～できるのかしらん？」という雰囲気をかもすため、△。
https://w.atwiki.jp/vocaloidenglishlyric/pages/389.html
【Tags Mikito-P MikitoP Miku TomadachiboshuuP Tomodachiboshuu-P tM S】 Original Music title 刹那プラス English music title Momentary Plus Romaji music title Setsuna Plus Music Lyrics written, Voice edited by みきとP(Mikito-P) Music arranged by みきとP(Mikito-P) Music mixed by 友達募集P(Tomodachiboshuu-P) Singer(s) 初音ミク (Hatsune Miku) Append Click here for the original Japanese Lyrics English Lyrics (translated by renna_usagi)： Why do you seem fine even when you lie to people? Surely, that small, small lie changed the form of a lie. Why are you smiling? Who don t you mind seeing? Surely, on the other side of that invulnerable wall, depression is peeking through I m worried about you, you know Even though I have an ulterior motive, you don t mind, right? The bell rang at midnight, an emergency in the momentary silence It is lonely? Are you lonely? I ll cover it up for you. Come now, open your mouth. I ll pour it in directly. Surround medical melody Why do you appear as if you re being strict with yourself? Surely, you just long for some small, small person or something I m worried about you, you know Even though it s a sudden impulse, you don t mind, right? Whose song is this? A clinic in the momentary forest I ll diagnose, I ll diagnose the real you Come now, roll up your sleeve. I ll pierce you directly. Surround medical melody Ephemeral dreams, even the wings of desire Everything is momentary, a transient world Become wounded, forget your wounds The bell rang at midnight, an emergency in the momentary silence Do you miss it? Are you lonely? I ll heal you. Come now, open your mouth. I ll pour it in directly. Surround medical melody Whose song is this? A clinic in the momentary forest I ll diagnose, I ll diagnose the real you Come now, roll up your sleeve. I ll pierce you directly. Surround medical melody Surround medical melody Romaji lyrics (transliterated by fafrotsky)： doushite kimi wa hito ni uso wo tsuitemo heiki sou nano kiito chiisana chiisana uso ga uso no katachi wo kaete shimatta doushite kimi wa egao dare ni kamawazu misete shimau no kiito nankou furaku no kabe no mukou gawade wa utsu ga nozo ita kimi no koto ga shinpai nano sa shita gokoro demo kamawanai deshou mayonaka no beru ganari setsunaru shijima ni kyuukanda sabishii no sabishii no umete ageruyo hora hora okuchi akete chokusetsu sosoide ageru saraundo medikaru merodi doushite kimi wa kimi ni kibishiku shiteru youni miseru no kiito chiisana chiisana hito no akogare ka nanka ga hoshii dake kimi no koto ga shinpai na no sa deki gokoro demo kamawanai deshou kore wa dare no uta nano setsunaru mori no shinryoujou misete goran misete goran hontou no kimi wo hora hora udemakutte chokusetsu sashite ageru saraundo medikaru merodi utakata no yume mo yokubou no tsubasa mo subete wa setsuna mushou no sekai kizutsuite kizu wo wasurete mayonaka no beru ganari setsunaru shijima ni kyuukan da koishii no sabishii no iyashite ageru hora hora okuchi akete chokusetsu sosoide ageru saraundo medikaru merodi kore wa dare no uta nano setsunaru mori no shinryoujou misete goran misete goran hontou no kimi wo hora hora udemakutte chokusetsu sashite ageru saraundo medikaru merodi saraundo medikaru merodi [Mikito-P, MikitoP, Tomodachiboshuu-P, TomadachiboshuuP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/133.html
ずっと、ずっと【Tags KAITO Len MEIKO Miku Rin Z tF Kurousa-P】 Original Music Title ずっと、ずっと... English music title Forever and Ever... / Forever, Forever... Romaji music title Zutto, Zutto... Music Lyrics written, Voice edited by 黒うさP (Kurousa-P) Singers 初音ミク (Hatsune Miku), 鏡音レン (Kagamine Len), 鏡音リン (Kagamine Rin), MEIKO, KAITO Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain) Surely a spring wind lured our first encouter. I was repeating your name. Still in T-shirts, I followed you in the summer afternoon. I was watching fireworks with you under the night sky and I was in love. A year has passed, but I couldn t tell it to you. I ll have a glimmer of courage and start to go on. Thank you for your smile, it alone makes me so happy. Please be with me, tomorrow and so on. Please be with me, forever and ever. Because of a small lie, we misunderstood each other on the autumn morning. I couldn t say, "Sorry." I hid my blushed face in cold winter. I was frustrated as I couldn t closer the small distance. There re so many feelings that won t be taken in a picture. I ll step forward with a lot of tenderness. I want to smile all the time, so I smile at you. Let s have fun. I won t forget, forever and ever. Thank you for your smile, it alone makes me so happy. Please be with me, tomorrow and day after day. Forever and ever... I want to smile all the time, so I smile at you. Let s have fun. I won t forget, forever and ever. Please be with me, forever and ever. [Translation note] "yoroshiku" can be also translated as "take good care of", "be nice to each other" or "get along". Romaji lyrics (translated by moire25) Deai wa kitto harukaze ni sasoware te Kimi no namae wo kuri kaeshi te ta Hansode no mama oikake ta natsu no gogo Issho ni miteru yo-zora koi hanabi Ichinen ga tatta kedo tsutaerare zu ni Yuuki wo hito kakera susumi dasu Itsumo egao wo arigatou sore dake de ureshiku te Ashita kara mo yoroshiku ne zutto zutto yoroshiku ne Chiisana uso de surechigatta aki no asa "Gomen ne" sore ga ie na katta Tsumetai fuyu wa terekakushi akai kao Chiisana kyori ga modokashikatta koto Shashin ni wa utsura nai kimochi ga aru yo Yasashisa wo ippai ni aruki dasu Itsumo egao de itai kara kocchi kara hohoemi wo Ashita kara mo tanoshiku ne zutto zutto wasure zu ni Itsumo egao wo arigatou sore dake de ureshiku te Ashita kara mo yoroshiku ne Zutto, zutto... Itsumo egao de itai kara kocchi kara hohoemi wo Ashita kara mo tanoshiku ne zutto zutto wasure zu ni Zutto Zutto yoroshiku ne [KurousaP, whiteflame, Kurousa-P]
https://w.atwiki.jp/in_extremo/pages/55.html
Merseburger Zaubersprüche 「メルゼブルクの呪文」 詞／不詳（古典部分）、In Extremo（ナレーション） 曲／In Extremo 言語／古高ドイツ語（ラインフランク語）、現代ドイツ語 歌詞 Hört von den sieben Vaganten Die ihr Glück in der Hölle fanden Behangen mit Fetzen und Schellen Die so laut wie Hunde bellen Ihr Lachen ist Sturm und Gewitter Feiern und zechen bis kommt der tödlich Schnitter Verehrt und Angespien Sind sie bekannt im ganzen Land Von allen „In Extremo“ genannt. Eiris sazun idisi Sazun hera duoder Suma hapt heptidun Suma heri lezidun Suma clubodun Umbi cuoniouuidi Insprinc haptbandun Invar vigandun 日本語訳 （※古典部分は下記文献より引用、一部訳者が編集） 聞くがいい 七人の楽士たちの音を 彼らは地獄に幸運を見出し ぼろ切れと鈴を身にまとい 犬のようにけたたましく雄叫びを上げる 彼らの笑い声は嵐や雷 死神が来るまで祝うや飲むやの大騒ぎで 時には崇められ、時には唾を吐きかけられる 皆に「突飛な奴ら」と名付けられた彼らは 世界にその名を轟かすことができるのだろうか かつて賢き女ども 至る所に居給へり 仇に手枷を付くる者 敵の兵馬を止むる者 足の枷をば味方より 切りて解きたる者もあり 「敵の枷鎖より逃れ出よ 敵の元より逃げ延びよ」 解説・補足 古典部分のテキストは1841年に写本が発見された中世の呪文である「メルゼブルクの呪文」のものです。この曲は2編ある呪文のうち1編目である「身内生還の呪文」を歌っています。 参考文献 高橋輝和 2003 『古期ドイツ語作品集成』 溪水社 F.マルティーニ 1980 『ドイツ文学史 原初から現代まで』 高木実、尾崎盛景、棗田光幸、山田広明共訳 三修社
https://w.atwiki.jp/rsbuygoldq/pages/54.html
Should you accomplishment in order to deliver benefit of the actual associate along with RuneScape Dungeoneering, you ll take for you might achieve the right path in order to Daemonheim. The experience suitable presently there need to panel a person along with a method to consequences your own capabilities. Daemon is actually start far eastern supplementary related to Backwoods about the large peninsula. You will find abounding changed way of taking presently there, nonetheless, including a href="http //www.4rsgold.com/Runescape.Gold" strong Runescape Gold /strong /a ;teleporting whilst software the actual Music group in terms of Kinship, demography the burst through powering the actual precise is Kharid financial organization, because able-bodied because respected in your section within the jungles. Whenever you entry from Daemonheim once again a person completely need to stay with the actual section main the actual slope. You ll plan some thing label inside your infant graph, that is region you need to blazon within the citadel. The actual after there s the actual Dungeoneering teacher; to complete energetic under complex it is easy to request the Music group associated with Kinship and then verification complete very easily. RuneScape Dungeonerring is really a plentiful add-on for that movie daring as well as aswell accounts looking from a href="http //www.4rsgold.com/Runescape.Gold" strong Cheap Runescape Gold /strong /a . The actual reality that it s obtainable in order to non-members is actually add-on accolade extra it ll panel game enthusiasts to improve their own precise knowledge. The actual popularity which it is usually attainable in order to associate because obtaining a affiliate marketer from the aggregation aswell may achieve Daemonheim the very best home being.
https://w.atwiki.jp/vocaloidenglishlyric/pages/1196.html
【Tags Luka Owata-P tT T】 Original Music title トルエン English music title Toluene Romaji music title Toruen Music Lyrics written, Voice edited by オワタP (Owata-P) Music arranged by オワタP (Owata-P) Singer 巡音ルカ (Megurine Luka) This song is included in "Benzene" series. Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： [It s a tale of inhuman things driven mad by jealousy--. Welcome to the beginning of that. That which is born out of feigned sympathy--self-righteousness. That which arises out of envy--the feeling of jealousy.] [Toluene--methylbenzene, is an organic compound classified as an aromatic hydrocarbon. Its chemical formula is C6H5CH3, where a benzene has one of its hydrogen atoms replaced by a methyl group. Under room temperature, it is volatile and inflammable, so it s classified as a "Class 4, 1st kerosene" hazardous material (in Japan). Under the Japanese Poison Control Law, it s considered a hazardous substance.] [Since it is a type of poison, it s something that s originally not needed at all. That is, they will only keep losing everything they have-- their "self", others, and even their most precious self-respect-- They re nothing more than objects of people s ridicules. Recognized by no one, they make themselves slowly disintegrate--.] [Their "self", saturated with feigned sympathy and pretentious logics and ethics, only through condemning others...] Toluene. [A spontaneous destruction of their originally non-existent identity. C7H8] Toluene. [They have never had a true "self". They were not humans, but merely creatures called "Homo sapiens". ] Toluene. [They re neither recognized nor able to become aware of themselves. In the end, there s nothing left for them--.] Toluene. Toluene. Toluene. [Everything is just bluff. Life is filled with nothing but utter defeats.] ***** ***** ***** ***** ***** ***** ***** *** Toluene. [They re imposters after all. They are creatures who know nothing of true wrath or hatred. The source of their identity is jealousy--] Toluene. [They feel self-satisfied looking at those below, and feel revolted looking at those above.] Toluene. [Within the society of anonymity, they are beat up in stark nakedness. The first cue that will cause a mass society to degenerate is jealousy. Those who are involved are unaware of their involvement. They are creatures who will destroy not only themselves, but also everything else.] Toluene. [Eventually, they lose the essence and reality-- they can do nothing more than looking despising others...] Toluene. [They can merely keep despising others... They can merely keep nitpicking others...] Toluene. [Their selves and the world are painted over and consolidated with lies. The truth..., just where might it be...? Perhaps even truth itself has become nothing more than poison.] Does this song have a meaning? The meaning to this verse... Does this song have a meaning? The meaning to this verse... does exist. ***** ***** [They conduct themselves based on their vanity and selfishness.] ***** ***** [On the inside, do they already know it s evil to do so?] ***** ***** [It s a way for them merely to hide their own weakness--] ***** ***** [They are creatures filled with jealousy instead of earnest anger.] ***** ***** [Do they intend to remain trapped in the cycle of hypocrisy and jealousy?] ***** ***** [What must they do to break out of it?] ***** ***** [What is right?] ***** ***** [In a world filled with vanity, jealousy, grudge, and self-interest...] [Are they going to break down without ever understanding anything?] Romaji lyrics (transliterated by animeyay)： [netami kurutta hito narazaru mono no monogatari--. sono hajimari e, youkoso. gizen ni yoru mono--dokuzen senbou yori kuru mono--shittoshin] [toruen--mechirubenzen houkouzoku tanka-suiso ni zoku suru yuuki kagoubutsu shiseishiki C6H5CH3 benzen no suiso genshi hitotsu o mechiru-ki de chikan jouon de kihatusei ga aru, inkasei o yuu suru kikenbutsu daishirui daiichi sekiyurui dokubutsu oyobi gekibutsu torishimarihou ni yori gekibutsu ni shitei] [ikitsuku saki wa dokugekibutsu honrai wa hitsuyou to sarenai mono sunawachi, subete o ushinatte iku dake na no da. yagate, jiga mo, hito mo, ichiban daiji na jisonshin sura mo-- choushou no taishou de shika nai. dare ni mo mitomerarezu, mizukara o houkai sasete iku--.] [gizen ni michita jiga kyozou darake no ronri hoka o otoshimeru koto de] toruen [mizukara no houkai moto yori nai, aidentiti C7H8] toruen [hontou no jiga nado, nakatta no da. hito de wa naku, hito to iu mono de shika nakatta. ] toruen [mitomerarezu, jikaku dekizu. saigo ni wa, nani mo nokoranai--.] toruen toruen toruen [subete wa kyosei shougai, haiboku o tsuzukeru no mi.] ***** ***** ***** ***** ***** ***** ***** *** toruen [shosen wa nisemono hontou no ikari, urami o shiranai monotachi. aidentiti no gensen wa, netami--] toruen [shita ni mieru mono o mite etsu ni hairu shita ni mieru mono o mite hankan o idaku] toruen [tokumei shakai ni oite wa mukidashi no mama butsukerareru taishuu shakai ga taihai shite iku saisho no kikkake wa netami toujisha-domo wa, mujikaku na no de aru] jiko dake de naku, subete o houkai saseru dake no mono] toruen [yagate, honshitsu o miushinatte iku-- hoka o mikudasu koto de shika...] toruen [hoka o otoshimeru koto de shika... hoka no ara o sagasu koto de shika...] toruen [uso de nurikatamerareta jibun, sekai. shinjitsu wa..., doko na no ka...? mohaya sono sonzai wa, doku de shika nai no da.] kono uta ni imi wa aru no? kono uta ni imi wa... kono uta ni imi wa aru no? kono uta ni imi wa... aru yo ***** ***** [kyoeishin ya rikoshin nado kara okonawareru] ***** ***** [naimenteki ni aku de aru to shitte iru no ka?] ***** ***** [mizukara no yowasa o kakusu tame dake no shudan--] ***** ***** [sei naru ikari de wa naku, netami yori wakiagaru mono de shika nai.] ***** ***** [gizen to shitto to iu rinne o meguritsuzukeru no ka?] ***** ***** [dou sureba nukedaseru no ka?] ***** ***** [nani ga tadashii no ka?] ***** ***** [kyoei to shitto to shien to shiyoku ni afureta sekai de...] [nani mo wakaranai mama, kowareru dake na no ka?] [Owata-P, OwataP, Garuna]
https://w.atwiki.jp/ypen/pages/33.html
141. An advisory panel to the ministry in charge of education has compiled a report recommending that compulsory English education be started in the 5th grade at all elementary schools in Japan to get pupils familiar with international communication in English. 142. According ti the ministry in charge of education, more than 90 percent of public elementary schools in japan had what they termed English activities classes in fiscal 2005, utilizing school hours allocated for comprehensive studies. 143. The ministry in charge of eduction helps to offer chances for all teachers of English working for publicly-run junior and senior high schools to receive on-the-job training to further their communication skills trough the language. 144. Commenting on the proposed compulsory English education at elementary schools, outspoken Tokyo Governor Shintro Ishihara denounced the government policy as nonsenese, stressing the importance of the national language through which he said people should cultivate their sensibilities and sentiments. 145. At the English listening comprehension test introduced for the first time by the national center for university entrance examinations, more than 450 among half a million examinees were announced by malfunctions of handled IC recorders. 146. A Japanese Nobel Laureate for literature, Kenzaburo Oe, has inaugurated the Oe Kenzo Prize for which he himself selects a literary work for a year to be transalted into English for publication overseas. 147. A Japanese comic book "Barefoot Gen" has been translated into various languages including Russian and English. It depicts the life of boy who survived the atomic bombing of Hiroshima. 148. One of the most prominent Japanese film directors, Shohei Imamura, passed away at the age of 79. His film, "The Ballad of Nakayama" and "The Eel", won the biggest award of the Cannes Film Festival for his realistic representation of the toughness of ordinary people. 149. The Venice Film Festival presented the Golden Lion for Lifetime Achievement Prize to Japanese animated movie director Hayao Miyazaki for a number of his praiseworthy works including "Sprinted Away" and "Howl s Moving Castle". 150. A 14-year-old junior high school student in Tokyo, Yuya Yagira, became the first Japanese and youngest winner of the w\actor award in Cannes Film Festival 2004 for his role in a movie entitled "Nobody Knows". 151. Made by late Japanese painter, Taro Okamoto, in Mexico some 40 years ago, a huge mural measuring 5.5 meters by 33 meters has been unveiled in Tokyo, depicting fleeing people and animals during an atomic explosion with the title of "Myth of Tommorow". 152. Takeshi Kitano, a 57-year-old actor and movie director, has been appointed as a professor at a graduate school of Tokyo National University of Fine Arts and Music, where he is intended to foster world-class specialists in film-making. 153. Van Gogh s painting of peasant woman, which he had been valued at ten to twenty thousand yen, was sold for 66 million yen at an auction in Tokyo as it was determined as genuine by the Van Gogh Museum in Amsterdam. 154. Upon designation of Kabuki as a UNESCO intangible cultural heritage, Kabuki actors said they will make further efforts hand in hand with Noh and Bunraku, which had already been designated as such heritages. 155. The late Pope, John Paul II, earnestly repeated an appeal for world peace n none languages including English and Japanese when he visited the atom-bombed city of Hiroshima in 1981. 156. The newly-elected Pope of Roman Catholic Church, Benedict XVI, has pledgaed that he would follow in the footsteps of his predecessor, John Paul II, who pursued pacifism, human right protection and dialogue with other religions. 157. Pope Benedict, XVI, a German, visited the remains of the Nazi Concentration Camp in Auschwitz to pray for the victims of the Holocaust with Holocaust survivors during his tour of Poland, the home land of his predecessor, John Paul II. 158. A joint team of researchers from Japan and Mongolia says it has found what is considered t be the site of the mausoleum of Genghis Khan, which is said to be located near the tomb of the great conqueror of the 13th Century. 159.Caricatures of the Islamic Prophet Muhammad first carried by a Danish newspaper and later by other European dailies triggered a huge blazing row between the Muslim world and the western media over the dignity of religion and freedom of expression.