新春里，侗寨年味浓。听侗族大歌，游鼓楼花桥，贵州黎平县肇兴侗寨迎来八方游客。
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日记的后半段，随着塔可夫斯基步入流亡岁月、病痛缠身，文本中蕴含的情感层次也愈加丰富，欢喜、愤怒、迷茫、思念、绝望交织，这对翻译提出了更高的要求——不仅要保证语言的精准，还要反复琢磨某些表达方式背后的心理动机，让这些细腻而浓烈的情感得以准确传达。日记天然的私密化特征，让翻译成为一场视角与价值观的碰撞，成为一次与塔可夫斯基的深度对话。李芝芳钟爱《伊万的童年》的主演布尔利亚耶夫，也敬仰掌镜塔可夫斯基前两部影片的苏联摄影师尤索夫，可在塔可夫斯基的日记中，这些业内公认的一流电影人，都因创作矛盾而遭到了他毫不留情的指责和挑剔：布尔利亚耶夫因《安德烈·卢布廖夫》的拍摄安排与他决裂，尤索夫也在《镜子》的创作中与他分道扬镳。“这些人在我们心里都是标杆，在他的日记里，就没有一个不骂的。”李芝芳的笑谈道出了翻译时的挣扎。
In order to iteratively develop the offline architecture while also continuing to support the live-service flows, we introduced a local feature-flag that controls whether this new serverless mode is enabled. When disabled, the game functions as it did for the online live-service era sending out real HTTP requests. However, when the feature-flag is enabled, HTTP requests to the Towerborne service domains instead get routed through the local DLL rather than over the internet. From the Unreal game client’s perspective, it is still continuing to make the same HTTP requests as it did in the live game; none of the code surrounding these individual API requests needs change.
63-летняя Деми Мур вышла в свет с неожиданной стрижкой17:54