海伦斯诺写的《红都延安采访实录》这本书的英文名是什么？

《Red dust;: Autobiographies of Chinese Communists》by Nym Wales （Helen Foster Snow的笔名）

帮忙翻译

在 1976 年八月下旬内， Seni 为了劝领域陆空军高级将官 Thanom Kittikachorn 送 Samak 到新加坡不要再回到泰国。[6] 保罗 M. Handley 然而主张 Samak 是一个 Sirikit 皇后的接近心腹朋友而且被 Bhumibol 国王送保证对流亡的领域陆空军高级将官的王室支持。[7] 这费用显然地在内阁会议国王支持 Thanom 的回返期间被 Samak 的要求支援。

Samak 从他的部长位置被移动, 而且在反应方面组织了要求他当做身为 " 共产主义者 " 打上烙印的三个年轻的自由主义的民主党部长的移动的反政府示范。[8] 虽然在 2008 的面谈中 CNN 和半岛电视台 Samak 用正式地至少离开 46 的 1976 年十月 6 日大屠杀否认共谋死亡, Samak 坚持只有 1个人被留下死了。 来自证人的帐户, 文件和出版报告清楚地监定作为 " 披甲的汽车 " 收音机节目的主要操作员的 Samak, 不变地详细说明**产主义者和职业者的过度-权利翅膀广播-正确的宣传。[引证需要] 用这一节目的 Samak 煽起憎恨对抗 Thammasat 大学学生, 而且有意地在那时违反总理的次序到 "停止创造区分 ." 在防护 1973 回返方面-逐出了在收音机上的领域陆空军高级将官 Praphat, Samak 告诉收听者学生对抗命令者的示范回返**。[引证需要]

在 1976 年十月 6 日的政变之后， Samak 变成了 Tanin Kraivixien 的行政的内部的部长，一个宫殿-为诚实的有着名誉的受优惠的**产主义者。 Samak 立刻开始了调查数以百计的被推想的左翼人，谁是作家和其他的有知识者的多数的一个活动，他们[她们] 被拘捕。[9]

在 1979 Samak 中发现右派的 Prachakorn 泰国宴会。 在这 1979个普选中它摇动了凭依民主党党员宴会藉由在曼谷嬴得这 39个位子中的 29个。 在 1983 年，它把它的基础延长到 36个位子, 而且不在 1986 年太非常受苦于民主党党员巨涌。[10]

在 1992 年，当做 Suchinda 行政的副总理， Samak 藉由宣布政府有了权利像美国可以送一样长的这么做军队在其他的国家,对抗伊拉克和海珊从八月 2 日 1990-281991 年二月起发生的关于波湾战争的参考中杀人证明了军队的赞成民主政治示范者残忍抑压。 [11] 他保持一点悔意也没有而且继续支持他的辩护, 说在赞成民主政治的示范者,他打上烙印当做 " 惹麻烦的人 " 的, 诉诸之后，军队正在只尝试修复治安 " 大举包围规则 ".[12]

集中营英文

英语翻译：

【法】 detention centre

例句：

一天夜里战俘们冲出了那个纳粹集中营。

The POWs burst out from(of) that Nazi concentration camp one night.

只是由于抱着总有一天可能逃脱的希望，吉姆才经受住集中营的折磨。

Only the hope that he might one day escape carried Jim through the ordeal of the concentration camp.

他抓住一切机会从纳粹集中营跑出来。

He seized every chance to break out of the Nazi concentration camp.

关在这些集中营里的 * 员和爱国人士进行了激烈而复杂的斗争。

Communists and patriots held in these concentration camps waged an intense and complicated struggle.

第二次世界大战犹太人受害的英文

第二次世界大战犹太人大屠杀不叫 Massacre，叫 Holocaust。犹太人大屠杀是纳粹德国在第二次世界大战中的种族清洗，也是二战中最多人熟悉的暴行之一，在这次大屠杀中，近600万犹太人被屠杀。犹太人大屠杀在英语和德语的名称为 Holocaust，此字是来自希腊语，意思是用火牺牲。犹太人则称其为 Shoah, 来自希伯来语，带“浩劫”的意思。

===========

The Holocaust

===========

The Holocaust is the term generally used to describe the genocide of approximately six million European Jews during World War II, as part of a programme of deliberate extermination planned and executed by the National Socialist German Workers’ Party (Nazi) regime in Germany led by Adolf Hitler.

Other groups were persecuted and killed by the regime, including the Gypsies; Soviets, particularly prisoners of war; Communists; ethnic Poles; other Slavic people; the disabled; homosexuals; and political and religious dissidents. Many scholars do not include these groups in the definition of the Holocaust, defining it as the genocide of the Jews,[5] or what the Nazis called the "Final Solution of the Jewish Question." Taking into account all the victims of Nazi persecution, the total number of victims is estimated to be nine to 11 million.

The persecution and genocide were accomplished in stages. Legislation to remove the Jews from civil society was enacted years before the outbreak of World War II. Concentration camps were established in which inmates were used as slave labour until they died of exhaustion or disease. Where the Third Reich conquered new territory in eastern Europe, specialized units called Einsatzgruppen murdered Jews and political opponents in mass shootings. Jews and Roma were crammed into ghettos before being transported hundreds of miles by freight train to extermination camps where, if they survived the journey, the majority of them were killed in gas chambers. Every arm of Germany's bureaucracy was involved in the logistics of the mass murder, turning the country into what one Holocaust scholar has called "a genocidal state."

Holocaust 大屠杀大全：

犹太人大屠杀图：

翻译，尽快

Eileen Chang was born in Shanghai on September 30, 1920 to a renowned family. Her paternal grandfather was a son-in-law to Li Hongzhang, an influential Qing court official. Her family moved to Tianjin in 1922, where she started school at the age of four. When she was five, her birth mother left for Britain after her father took in a concubine and grew addicted to opium. Although she did return four years later, following his promise to quit the drug and split with the concubine, a divorce could not be averted. Chang's unhappy childhood in the broken family probably gave her later works their pessimistic overtone.

Chang was renamed Eileen in preparation for her entry into the Saint Maria Girls' School. During her secondary education, she was already deemed a genius in literature. Her writings were published in the school magazine. In 1939, she was accepted into the University of Hong Kong to study literature. She also received a scholarship to study in the University of London, though the opportunity had to be given up when Hong Kong fell to the Japanese in 1941. Chang then returned to Shanghai. Living in Japanese-occupied Shanghai she wrote many popular pieces published in mass-circulation magazines, but her remarkable use of language meant that she was also taken seriously as a writer. She fed herself with what she was best at - writing. It was during this period when some of her most acclaimed works were penned and the Chang Legend began with the publication of her first short story in Shanghai in 1942.

Chang met her first hu**and in 1943 and married him in the following year. She loved him dearly, despite he being already married as well as labeled a traitor to the Japanese. When Japan was defeated in 1945, her hu**and escaped to Wenzhou, where he fell in love with yet another woman. When Chang traced him to his refuge, she realized she could not salvage the marriage. They were finally divorced in 1947.

However, the Communists' takeover of China in 1949 cut short Chang's run of stardom, for with a much publicized prestigious family background, Chang knew that she would become a conspicuous target for Communist persecution. Foreseeing political trouble, she escaped to Hong Kong in 1952 and worked as a translator for the American News Agency for three years. She then left for the United States in the fall of 1955, never to return to Chinese mainland again. The Rice Sprout Song, the first book published after her immigration, probes the ironies of life under the Communists. Her inspiration for the novel is a newspaper article about a party member who finds himself questioning orders to shoot peasants who are raiding a granary during a famine.

In New York, Chang met her second hu**and, an American scriptwriter, whom she married in August 1956. He died in 1967. After his death, she held short-term jobs at Radcliffe College and UC Berkeley. She relocated to Los Angeles in 1973. Two years later, she completed the English translation of a celebrated Qing novel written in the Wu dialect. On September 8, 1995, she was found dead in her apartment. According to her will, she was cremated without any open funeral and her ashes were released to the Pacific Ocean.

Chang is no doubt the most talented woman writer in the 20th century China. Over the last century few writers have had as much influence on the development of modern Chinese literature in Chinese mainland, Hong Kong, and Taiwan as her. Her obsession with privacy made her known as the "Garbo of Chinese letters", and photographs reveal a woman whose elegance and contemplative introspection justify that title. Written on Water, first published in 1945, showcases why, more than half a century after she first won fame in Shanghai, Chang still enjoys an enormous popularity among readers, both in China and overseas. She offers essays on art, literature, war, and urban life, as well as autobiographical reflections. She takes in the sights and sounds of wartime Shanghai and Hong Kong, with the tremors of national upheaval and the drone of warplanes in the background, and inventively fuses explorations of urban life, literary trends, domestic habits, and historic events. Her stylized depictions of Chinese manners and morals, her witty inquiry into urban trivia, and her "celebration" of historical contingency are a tableau vivant of modern Chinese lives at their most complex and fascinating. She captures the subtleties of the urban experience, pointedly from a woman's perspective, and the trivialities of daily endeavors during the Japanese occupation, with humor and insight. Her self-effacing, mannered prose and power for observing visual designs and social manners shine when she writes of fashion, the family, her past, and film and drama.

With a distinctive style that is at once meditative, vibrant, and humorous, Chang engages the reader through sly, ironic humor; an occasionally chatty tone; and an intense fascination with the subtleties of modern urban life. Her works vividly capture the sights and sounds of Shanghai, a city defined by its mix of tradition and modernity. She explores the city's food, fashions, shops, cultural life, and social mores; she reveals and upends prevalent attitudes toward women and in the process presents a portrait of a liberated, co**opolitan woman, enjoying the opportunities, freedoms, and pleasures offered by urban life. In addition to her descriptions of daily life, she also reflects on a variety of artistic and literary issues, including contemporary films, the aims of the writer, the popularity of the Peking Opera, dance, and painting.

Her works frequently deal with the tensions between men and women in love. Her writing is very detailed. She used a lot of adjectives and idioms in describing some subtle and complex plots and characters of the story. Compared to other writers, she is very distinct when describing the characters, setting the details out quite strongly and giving the reader a good sense about who they are. The conversations that she creates between characters really show her skills as an outstanding writer because of how realistic they are. None of the dialogues seem to be unnatural or unbelievable.

Chang is a talented storyteller, which is clearly shown on how skillful she unfolds a story of a love between a widow and a playboy, ending in a marriage unpredictable to most of its readers. The perspectives that are used are first person and third person narratives. Shortly after these dialogues, she sometimes used her own narration to provide more objective views.