青岛沙绣眉哪里好
时间:2019年10月22日 09:01:10

Five planets will parade across the dawn sky early Wednesday in a rare celestial spectacle set to repeat every morning until late next month.周三凌晨,五颗行星将列队穿过黎明时分的天空。这一罕见天象可能每天都会出现,直到下月底。Headlining the planetary performance are Mercury, Venus, Mars, Saturn and Jupiter. It will be the first time in more than a decade that the fab five will be simultaneously visible to the naked eye, according to Jason Kendall, who is on the board of the Amateur Astronomers Association of New York.这场行星表演的主角分别是水星、金星、火星、土星和木星。据纽约业余天文爱好者协会(Amateur Astronomers Association of New York)委员贾森·肯德尔(Jason Kendall)称,这将是十多年来,人们首次能用肉眼同时看到五颗行星。Admission is free, though stargazers in the Northern Hemisphere should plan to get up about 45 minutes before sunrise to catch the show. City dwellers can stay in their neighborhoods to watch, as long as they point their attention to the east, according to Mr. Kendall.演出是免费的,但为了能赶上观赏这一奇景,北半球的天文爱好者应该在日出前大约45分钟起床。肯德尔表示,城市居民可以留在自己所在的社区观看,只要把注意力集中在东方就行了。“For Mercury you will need binoculars,” he said. “It will not jump out at you, but everybody should be able to see Venus and Jupiter.”“观看水星的时候需要用双筒望远镜,”他说。“水星不会跳到你面前,但所有人应该都能看到金星和木星。”Mr. Kendall said that the hardest task for viewers will be discerning the planets from stars twinkling in the sky. But he offers a simple trick: close one eye, stretch out your arm and slowly pass your thumb over a bright dot in the sky. If the dot slowly dims out when your thumb passes over it, it’s a planet. If it quickly blinks out, it’s a distant star.肯德尔表示,观看者最难的是分辨出闪烁的恒星和那些行星。不过他给出了一个简单的诀窍:闭上一只眼睛,伸出一条胳膊,让大拇指瞄准空中的一个亮点慢慢移动。拇指经过时,亮点如果慢慢变暗便是行星,如果转瞬消失便是远方的恒星。The show is expected to run from Jan. 20 until Feb. 20, but the peak time to see all five is from the end of January until the first week of February, when Mercury is at its highest points, according to Sky amp; Telescope. The display is made possible by the uncommon alignment of all five planets along what is called the “ecliptic” plane of their orbits according to Jim Green, the planetary science division director at NASA.表演预计将从1月20日持续到2月20日,但同时看到五颗行星的最佳时间是从1月末到2月的第一周。据《天空和望远镜》(Sky amp; Telescope)杂志称,这期间水星处于最高点。NASA行星科学部门负责人吉姆·格林(Jim Green)称,这一现象之所以成为可能,是因为五颗行星罕见地沿其轨道的“黄道”面排列成了一条线。Each planet will appear in the sky one by one, starting Tuesday evening with Jupiter around 9:20 p.m. in New York. Mars will follow the gas giant’s solo debut, appearing as a reddish dot at approximately 1:11 a.m. E.S.T. Wednesday. Saturn enters next around 4:00 a.m., followed by Venus — the brightest orb — nearly an hour later. Mercury will join the ensemble last, taking the stage at around 6:17 a.m. It will last until the sun rises, at about 7:15 a.m. on Wednesday in New York, and makes it too bright to see the planets. The display will appear in the sky at similar times across the East Coast and before dawn across the northern Hemisphere.从周二晚上开始,几大行星将一个接一个地出现在纽约的上空。木星将在晚上9点20分左右,最先单独出现在空中。继木星这颗气态巨行星之后,火星将在东部夏令时间周三凌晨1点11分左右出现。人们看到的火星将是一个略带红色的圆点。接下来,土星将在凌晨4点左右上场。再过近一个小时后,最亮的星球金星将登场。最后加入的水星将在早上6点17分左右上台。这一景象将持续到日出,即纽约的周三早上7点15分左右。太阳升起后,因为光线太亮,人们便看不到这些行星了。此情此景将在差不多的时间出现在整个东海岸上空,并在黎明前出现在整个北半球的上空。“It’s not super often you get to see them all at the same time in the sky, it’s like seeing all of your friends at once,” said Jackie Faherty, an astronomer from the American Museum of Natural History. “There they are, the other rocks or balls of gas that are running around the sun.”“同时在空中看到这五颗行星的机会不是特别常见,就像同时见到所有的朋友,”美国自然历史物馆(American Museum of Natural History)的天文学专家杰基·法赫蒂(Jackie Faherty)说。“现在他们来了——其他那些围绕着太阳旋转的岩石或气团。”Those who miss the planetary alignment this time around will have another opportunity from Aug. 13 to 19, when the cosmic motley crew gives an encore performance, according to EarthSky.org. That show will take place in the dusk sky, giving stargazers in the Southern Hemisphere the best vantage points.错过这一次行星排成一线景象的人,在8月13日到19日期间还有机会。据EarthSky.org称,在那期间,这些天体会再次奉上同样的演出。届时,舞台将是黄昏时分的天空,南半球的天文爱好者将享有最佳视角。 /201601/424052

In 420, Liu Yu dethroned the Emperor of Jin and declared himself as the Emperor of Song, which was known as Liu Song to distinguish from the Song set up by Zhao Kuangying after the Tang Dynasty.公元420年刘裕废晋帝自立,国号宋。为区别于后世赵匡胤建立的宋朝,史学家常称之为“刘宋”。Born in a humble family, Liu Yu realized that it was the uprisings of the great noble clans that caused the downfall of the Eastern Jin therefore he would by no means put the members of the prestigious on the important positions.Instead, the military power was in the hands of his sons and other important posts were filled with persons from the poor origin.刘裕出身贫寒,又看到了东晋因大族屡屡兴兵反抗而使其灭亡的教训,故而在他登基后,不再重用名门大族,其用人也多为贫寒出身,兵权则主要交予自己的皇子,所以没有重蹈东晋发生大族割据的覆辙。By these measures he did successfully avoid the separate regimens set up by the noble clans, however, he failed to foresee the conflicts between his princes after his death.然而,由于皇子相互间的争权夺利,最后以至于相互残杀,这是刘裕始料未及的。In 422, Uu Yu died, his two sons Shao and Wen took the throne in succession.公元422年,刘裕卒,宋少帝、文帝相继即位。Worthy to mention is during Wen’s reign, there appeared a prosperous comfortable society characterized by social stability, economic growth and cultural flourishing.其中,文帝刘义隆在位的30年间,是宋朝最繁荣的一段时期,这时南方的经济、文化真正有所发展,出现了一个所谓“小康”的局面。There were wars broken out between the Liu Song and Wei in the north; however, both suffered great loss and dared not to launch a large-scale campaign towards each other.此间,宋与北朝的魏国交战虽各有胜负,但却都损失惨重,使南北方均无能力再发生大战。Since then, there was a relative tranquil period till in the year of 454, Emperor Wen died and was succeeded by two tyrannies of Xiao Wu and Ming of Liu Song.从此,南北方相对稳定下来。公元454年,文帝薨。These two cruel emperors even plotted to kill their family members besides suspecting their own followers, which caused a constant chaos situation in their kingdom.文帝死后,宋孝武帝、宋明帝先后为帝,但他们俩都是有名的暴君,不仅对诸将疑忌,而且兄弟间相互残杀,政治一度混乱。Xiao Daocheng, Commander of Liu, aslo the Imperial Guards, gained his own weight in this confusion, usurped the power of Liu Song and changed its name to Qi in 479, which brought an end to the end of the Liu Song.在此期间,刺史萧道成趁政治混乱之机而形成了较强的势力。公元479年,萧道成灭宋,建立齐。至此,刘宋宣告灭亡。 /201601/421829

Ernest Hemingway was not only a commanding figure in 20th-century literature, but he was also a pack rat. He saved even his old passports and used bullfight tickets, leaving behind one of the longest paper trails of any author.欧内斯特·海明威(Ernest Hemingway)不仅是20世纪文坛中一位举足轻重的人物,同时也是个收集狂。他就连旧护照和斗牛比赛票根也要留着,因此在身后留下了庞大的书面资料,在作家当中堪称数一数二。So how is it possible that “Ernest Hemingway: Between Two Wars,” which opens on Friday at the Morgan Library amp; Museum, is the first major museum exhibition devoted to Hemingway and his work? It could be simply that no one thought of it before. Most of Hemingway’s papers are at the John. F. Kennedy Presidential Library and Museum in Boston. After Hemingway’s death in 1961, President Kennedy, a fan, helped his widow, Mary, get into Cuba and retrieve many of his belongings there. Partly in gratitude, she later donated Hemingway’s archive to the new presidential library. But the Kennedy Library, where this exhibition will travel in March, is not accustomed, as the Morgan is, to putting on big crowd-pleasing shows.“欧内斯特·海明威:两次世界大战之间”(Ernest Hemingway: Between Two Wars)将于周五在根图书馆与物馆(Morgan Library amp; Museum)开展,人们不禁奇怪,之前怎么根本就没有关于海明威及其作品的大型物馆展览呢?可能只是的确没有人想到吧。海明威的大多数文件都保存在波士顿的约翰·F·肯尼迪总统图书馆与物馆(John. F. Kennedy Presidential Library and Museum)。海明威于1961年去世后,崇拜他的肯尼迪总统帮助他的遗孀玛丽到古巴取回许多遗物。部分是为了表示感谢,玛丽后来把海明威的资料捐献给了新落成的肯尼迪总统图书馆。但是肯尼迪图书馆并不像根图书馆这样擅长举办人们喜闻乐见的大型展览(本展览亦将于明年3月来到肯尼迪图书馆)。Even at the Morgan, Hemingway was something of an afterthought. Declan Kiely, the museum’s head of literary and historical manuscripts and the show’s curator, said recently that he and Patrick Milliman, the director of communications, began idly talking about Hemingway in 2010, after concluding that an exhibition about J. D. Salinger, who had just died, was probably not feasible. The Hemingway exhibition, mounted on walls that have been painted tropical blue to suggest his years in Key West and in Cuba, takes him all the way from high school (where one of his classmates described him as “egotistical, dogmatic and somewhat obnoxious”) to roughly 1950, when he turns up as a self-caricature in Lillian Ross’s famous New Yorker profile. But the largest and most interesting section focuses on the ’20s, Hemingway’s Paris years, and reveals a writer we might have been in danger of forgetting: Hemingway before he became Hemingway.即便是在根,海明威展也并非优先考虑。物馆文学与历史手稿部门的负责人、本次展览的策展人迪克兰·基利(Declan Kiely)前不久说,2010年,他和物馆的公关主管帕特里克·米利曼(Patrick Milliman)聊起,为当时刚刚去世不久的J·D·塞林格(J. D. Salinger)做一次展览似乎不太现实,然后他们才随口聊起了海明威。在这次海明威展上,墙壁被漆成颇具热带风情的蓝色,象征着他在基韦斯特与古巴度过的岁月,展品从他的中学时光(有个同学形容当时的他“任性、固执,有点讨人厌”)一直来到20世纪50年代,那时他的形象已经成了莉莉安·罗斯(Lillian Ross)在《纽约客》发表的那篇著名报道中的自我讽刺形象。但展览中最重头也是最有趣的部分集中在20世纪20年代,海明威的巴黎岁月,它揭示出一位我们有可能会忘记的作家——成为著名作家之前的海明威。The exhibition does not fail to include pictures of the bearded, macho, Hem, the storied hunter and fisherman. He’s shown posing with some kudu he has just shot in Africa and on the bridge of his beloved fishing yacht, the Pilar, with Carlos Gutiérrez, the fisherman who became the model for “The Old Man and the Sea.”展览中也有不少照片,展示那个留大胡子,富于男性气概的“海姆”,那个传奇的猎手和渔夫。一张照片是他在非洲与自己猎杀的大羚羊的合影,还有一张是他在自己最心爱的钓鱼艇“皮拉尔”上,与渔夫卡洛斯·古铁雷兹(Carlos Gutiérrez)的合影,此人正是《老人与海》(The Old Man and the Sea)中老渔夫的原型。But the first photo the viewer sees is a big blowup of a handsome, clean-shaven, 19-year-old standing on crutches. This is from the summer of 1918, when Hemingway was recovering from shrapnel wounds at the Red Cross hospital in Milan and trying to turn his wartime experiences into fiction. For the first time, he tried out the Nick Adams persona. The manuscript is at the Morgan, scrawled in pencil on Red Cross stationery.但展览上的第一张照片是一张放大照,19岁的海明威相貌英俊,面庞光洁,拄着双拐。照片摄于1918年的夏天,海明威在“一战”中身受伤,正在米兰红十字医院中休养,试着把自己的战时经历写成小说。当时他第一次在小说中使用“尼克·亚当斯”(Nick Adams)这个角色。手稿也在这次根的展览中展出,用铅笔写在红十字医院的信纸上。Perhaps because of the famous “For Whom the Bell Tolls” jacket photo (also at the Morgan), which shows Hemingway bent over a Royal portable, or because of the cleanness and sparseness of his prose, we tend to think of him as someone who wrote on the typewriter. But the evidence at this exhibition suggests that, in the early days anyway, he often wrote in pencil, mostly in cheap notebooks but sometimes on whatever paper came to hand. The first draft of the short story “Soldier’s Home” is written on sheets he appears to have swiped from a telegraph office. The impression you get is of a young writer seized by inspiration and sometimes barreling ahead without an entirely clear sense of where he is going.或许是因为海明威在《丧钟为谁而鸣》(For Whom the Bell Tolls)一书封套上用皇家手提打字机打字的照片太有名了(这张照片也出现在根展上),又或者是因为他的文风简洁明快,我们都觉得他肯定是用打字机写作的人。但这次展览上的展品却表明,他早期经常用铅笔写作,经常是写在廉价的笔记本上,有时也写在手头的任何纸张上。他的短篇小说《士兵之家》(Soldier’s Home)的第一稿写在显然是从电报局偷回来的纸片上。你会觉得这是一个被灵感火花抓住的年轻作家,有时一气呵成地飞快写下去,几乎不清楚自己究竟在写什么。He began the original draft of his first novel, “The Sun Also Rises,” which he finished in just nine weeks during the summer of 1925, on loose sheets and then switched over to notebooks. It wasn’t until the end of the third notebook that he wrote a chapter outline on the back cover (which also records his travel expenses and his daily word counts, something Hemingway kept careful track of), and some of the pages on display show him slashing out not just words and sentences but whole passages as he writes. “Writing it first in pencil gives you one-third more chance to improve it,” Hemingway wrote later in an Esquire article. “That is .333, which is a damned good average for a hitter.”他的第一部小说《太阳照常升起》(The Sun Also Rises)是1925年夏天花九个星期写完的,初稿写在活页纸上,后来又在笔记本上写。直到写完第三个本子,他才开始在本子封底上写章节大纲(这页封底上还记录了他的旅费与每天说了几个单词,海明威有时候会细心地去数),本子里有几页显示他不仅大刀阔斧地删掉字句,有时整段都会删掉。“先用铅笔写,这样你就多了1/3的修改机会,”海明威后来在给《Esquire》杂志的文章中写道。“这就是.333,对于击球手来说是个极好的平均数。”F. Scott Fitzgerald (some of whose correspondence with Hemingway, beginning that year, is also on view) famously urged him to cut the first two chapters of “The Sun Also Rises,” complaining about the “elephantine facetiousness” of the beginning, and Hemingway obliged, getting rid of a clunky opening that now seems almost “meta”: “This is a story about a lady. Her name is Lady Ashley and when the story begins she is living in Paris and it is Spring. That should be a good setting for a romantic but highly moral story.” In 1929, in a nine-page penciled critique, Fitzgerald also suggested numerous revisions for “A Farewell to Arms.” Hemingway took some of these, but less graciously, and soon afterward his friendship with Fitzgerald came to an end. At the bottom of Fitzgerald’s letter he wrote: “Kiss my ass/E.H.”F·斯科特·菲茨杰拉德是经常与海明威书信来往的人之一,他们的通信正是从这一年开始,它们也在这次展览中展出。菲茨杰拉德曾经建议海明威把《太阳照常升起》的前两章删掉,说它们作为小说开头有种“笨拙的滑稽”,这件事非常著名。而海明威也照办了,删去了笨重的,现在看来近乎“庞大”的开头:“这是关于一个女人的故事,她的名字就叫做阿什莉,故事开头时,她住在巴黎,当时正是春天。这样的环境更适合浪漫故事而不是道德感极强的故事。”1929年,菲茨杰拉德用铅笔写来长达九页的,对《永别了,武器》(A Farewell to Arms)提出大量修改意见。海明威采纳了其中一些,但并不那么有风度,不久后他和菲茨杰拉德的友谊也走到了尽头。在菲茨杰拉德的来信末尾,海明威写道:“亲我的屁股/E.H.”。The papers at the Morgan show a Hemingway who is not always sure of himself. There are running lists of stories he kept fiddling with, including one with his own evaluations: “Tour de force,” “Pretty good,” “Maybe good.” And there are lists and lists of possible titles, including the 45 he considered for “Farewell” (among the discards, thank goodness, were “Sorrow for Pleasure,” “The Carnal Education” and “Every Night and All”).根展上的文件表明,海明威并不总是那么自信。他列了很多单子,上面是他一直在修改的短篇小说,旁边还有他自己的评语:“杰作”,“不错”,“也许还行”。还有无数给小说起的名字,比如他光是为《永别了,武器》就想了45个名字(被放弃的名字中包括“欢娱的悔恨”、“肉体教育”和“每个夜晚与一切”,真是谢天谢地)。Hemingway also tried 47 different endings for that novel. Those on view at the Morgan include the so-called “Nada” ending (“That is all there is to the story. Catherine died and you will die and that is all I can promise you”) and the only slightly more hopeful one suggested by Fitzgerald, in which the world “kills the very good and very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”海明威还为这部小说写了47个不同的结尾。根展中有一个被称为“虚无”的结局(“故事就是这样的,凯瑟琳死了,你也会死,我只能说这么多”),还有一个稍微带点希望色的结局,是菲茨杰拉德建议的,在这个结局里,“世界一视同仁地杀死那些好人、温柔的人与勇敢的人。如果这三种你都不是,它当然也会杀掉你,不过不会特别着急。”In display case after display case, you see Hemingway during his Paris years inventing and reinventing himself, discovering as he goes along just what kind of writer he wants to be. In a moving 1925 letter to his parents, who refused to “In Our Time,” his second story collection, he writes: “You see I’m trying in all my stories to get the feeling of the actual life across — not just to depict life — or criticize it — but to actually make it alive. So that when you have something by me you actually experience the thing. You cant do this without putting in the bad and the ugly as well as what is beautiful.” As the years go by, he also puts on weight, grows a mustache (seen in a Man Ray photograph) and for some unfathomable reason poses for an oil painting as “Kid Balzac,” a challenger y to knock out the great 19th-century realist.走过一个又一个展柜,你可以看到海明威在巴黎是如何一再重新塑造自己,渐渐发现自己希望成为什么样的作家。他的父母不愿读他的第二本短篇小说集《在我们的时代里》(In Our Time),1925年,他在一封感人的信中对他们说:“你们看,我试着为我全部的小说注入真实生活的感觉——不是去描写生活或是批判生活——而是让它真的活起来。这样当你们读到我写的东西时,你们就可以真的体验到那些事物。要做到这一点,就得把坏的、丑的东西也放进去,就像把美好的东西放进去一样。” 几年后,他发了福,留起了胡子(正如曼·雷[Man Ray]的照片所示),由于某些无法了解的原因,他还为一幅名叫《少年巴尔扎克》(Kid Balzac)的油画当模特,在这幅画中,巴尔扎克被塑造成一个冲击伟大的19世纪现实主义文学的挑战者形象。By the time the Second World War broke out, Hemingway had solidified — fossilized even — into the iconic figure we now remember: Papa. Even J. D. Salinger calls him this, in a 1946 letter written while Salinger is in an Army psychiatric hospital, in which he says of the war that a 1944 meeting with Hemingway in Paris was “the only helpful minutes of the whole business.” Hemingway, often drinking and despondent, didn’t know it, but his best work was behind him by then, though there is perhaps an inkling of diminished expectation in a July 1949 letter he wrote to the screenwriter and novelist Peter Viertel that ends: “I don’t know any place left in the states where it’s the kind of wild I like.”“二战”爆发期间,海明威的形象已经固定下来——而且像化石一般坚不可摧——就是那个我们如今熟悉的“爸爸”(Papa)的符号形象。就连J·D·塞林格都这么称呼他,1946年,塞林格在一家陆军精神病院给他写信,说在这场战争中,1944年在巴黎见到海明威是“整件事中唯一充满希望的时刻。”海明威经常喝酒,陷入沮丧,他不知道这封信,但当时他最好的作品正呼之欲出。1949年7月,他给编剧和小说家彼得·维尔特尔(Peter Viertel)的信以这样一句话结尾:“美国已经没有我喜欢的旷野。”这或许流露出了一丝小小的迹象。A blustery, cranky Hemingway appears in 1949 when aboard the Pilar he grabs an old fishing diary and begins scrawling an angry letter to Harold Ross, the editor of The New Yorker (whom he addresses as “Mister Harold”), complaining about Alfred Kazin’s review of “Across the River and Into the Trees,” not, in truth, a very good book. Kazim or Kasim, or whatever his name is, Hemingway tells Ross, can take his review and shove it you know where, and he will supply the grease. As Hemingway gets angrier and angrier his pencil almost goes through the paper, and then, as suddenly as it struck, the squall passes. The letter was never sent.1949年,一个爱吵闹,怪脾气的海明威登上“皮拉尔”的甲班,他拿过一本老旧的打渔日志,开始愤怒地给《纽约客》的编辑哈罗德·罗斯(Harold Ross)写信,称他为“哈罗德先生”,抱怨阿尔弗莱德·卡津(Alfred Kazin)评价《过河入林》(Across the River and Into the Trees)不算一本好书。海明威告诉罗斯:卡津还是卡辛,不管这人叫什么,可以拿上他的塞进自己的某个器官,他会帮他上油的。海明威愈写愈气,铅笔快要戳穿纸背,然而愤怒来得快去得也快,这封信从来没有被寄出去。A more endearing writer is the one who reveals himself in a series of uncharacteristically shy wartime letters to Mary Welsh, who would become his fourth wife. In one, he apologizes for not knowing enough adjectives. In another, in a sort of stream-of-consciousness vision of intimacy apparently written in darkness while he is traveling with the infantry as a war correspondent, he says: “It would be lovely to be in bed now, legs close and all held tight and lip like when you’ve pulled the pin from a grenade and let the handle ease up under your hand.”在致第四任妻子玛丽·威尔士(Mary Welsh)的战时信件中,这位作家显得可亲可爱得多,这些信少有的羞涩,展示出他的自我。在一封信中,他道歉说自己不怎么会用形容词。另一封信有点像亲昵的意识流,显然是他在做战地记者随步兵行军时,在黑暗中写的,他写道:“现在能上床就好了,腿紧紧合在一起,嘴唇也是,你把引信从手榴弹里拔出来,用你的手爱抚手柄。” /201510/402140


文章编辑: 龙马频道
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