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来源:健康中文    发布时间:2019年11月14日 12:33:36    编辑:admin         

RYAN GOSLING 瑞恩;高斯林The actor torsois so ripped in Crazy, Stupid, Love that even costar Emma Stone questions its authenticity. ;Seriously?! It like youre Photoshopped. Is there dim lighting somewhere?; she squealsin disbelief.在《这该死的爱里,这位男演员的身体肌肉太分明了,以至于合作的女演员艾玛;斯通怀疑了这肌肉的真实性;真的吗?这就像你被PS过了一样有没有哪里加了阴影?;她无法相信的尖叫 71。

Patti Smith’s achingly beautiful new book, “M Train,” is a kaleidoscopic ballad about the losses dealt out by time and chance and circumstance. Losing her husband, the guitarist Fred (Sonic) Smith, to heart failure in 199 at the age of 5. Losing her brother, Todd, a month later to a stroke. Losing her early New York friend and roommate, Robert Mapplethorpe, to AIDS in 1989. Her book is about moving from a time when her children were little and “the things I touched were living” (“my husband’s fingers, a dandelion, a skinned knee”) to a time when she increasingly began to capture and memorialize moments from her life in photos and words — to create, as an artist, talismanic souvenirs of the past. Of which this book is one.帕蒂·史密斯(Patti Smith)凄美动人的新书《M列车(M Train)如同一曲千变万化的歌谣,吟唱随时间、际遇与环境所失去的一切199年,她的丈夫,吉他手弗莱德·“音速”·史密斯(Fred [Sonic] Smith)年仅5岁就死于心脏病一个月后,她的兄弟托德(Todd)又死于中风她早年在纽约的朋友与室友罗伯特·梅普尔索普(Robert Mapplethorpe)则在1989年死于艾滋病这本书是关于她人生阶段的转变——曾几何时,她的孩子们年纪还小,“我所触碰的一切都还是活生生的”(“丈夫的手指、一朵蒲公英、削瘦的膝盖”);如今,她开始更多地捕捉和缅怀自己曾在照片和文字中记载的生活,以艺术家的身份,为旧日时光创作出护身符式的纪念品这本书也是其中的一件Musician, poet and photographer, Ms. Smith, 68, is remarkably attuned to the sound and sorcery of words, and her prose here is both lyrical and radiantly pictorial. Like her famous black-and-white Polaroid photos (some of which are scattered throughout the book), the chapters of “M Train” are magic lantern slides, jumping, free-associatively, between the present and the past, and from subject to subject. She captures a passing mood (melancholia she can turn in her hand “as if it were a small planet,” impossibly blue) as deftly as she conjures her cat Cairo (“an Abyssinian runt with a coat the color of the pyramids”) or a childhood memory (“a skate key on a cherished lace from the shoe of a -year-old boy”) or a sad, post-Sandy Christmas in the Rockaways. (“Styrofoam snowmen and waterlogged sofas were draped in tinsel.”)身兼音乐家、诗人和摄影师的史密斯今年68岁,她极擅长将声音与文字的魔力结合起来,她的文笔既充满抒情色,又充满画面感正如她那些著名的黑白宝丽来照片(书中就有一些),《M列车的章节就像一帧帧神奇的幻灯,在过去与现在,乃至不同主题之间自由自在地连接,不住跳跃闪回无论是一种转瞬即逝的情绪(她在手中把玩自己的忧郁,“仿佛它是一个小行星”,异常忧伤);名叫“开罗”的猫咪(“一只阿比尼西亚猫,小家伙的皮毛有如金字塔的颜色”);一段童年回忆(“那个岁男孩鞋子上用珍藏的蕾丝系着的滑轮鞋扣”);亦或是桑迪飓风之后在罗卡韦度过的忧伤圣诞(“金箔包裹着泡沫塑料雪人和浸水的沙发”),在她笔下都有如信手拈来Whereas Ms. Smith’s haunting memoir, “Just Kids,” centered on her early years in New York in the late 1960s and ’70s and her friendship with Mr. Mapplethorpe, this volume is more peripatetic, chronicling her peregrinations around the world and into the recesses of her imagination, though always returning to her home base in Manhattan. Its ies are not of time and place, but the landscape of Ms. Smith’s own mind — her dreams, her memories, her preoccupation with certain artists (Jean Genet, William S. Burroughs, Sylvia Plath), books (“The Wind-Up Bird Chronicle,” “After Nature,” “666”) and television shows (“The Killing,” “Law amp; Order,” “CSI: Miami”).年,史密斯那本令人难忘的回忆录《只是孩子(Just Kids)主要是关于世纪60年代末到70年代她在纽约度过的早年岁月,以及她与梅普尔索普的友情,而这本书更像是漫游,记录她周游世界的经历,以及在自己幻想中的休憩,不过到最后她总会回到曼哈顿的家中它并未串联起时间与地点,而是连接起她心中的一处处风景:她的梦境、她的回忆,乃至她对某些东西的迷恋——诸如艺术家让·热内(Jean Genet)、威廉·S·巴勒斯(William S. Burroughs)、西尔维娅·普拉斯(Sylvia Plath);还有《奇鸟行状录、《追随自然(After Nature)、《666等书籍,以及《谋杀(The Killing)、《法律与秩序(Law amp; Order)、《犯罪现场调查:迈阿密(CSI: Miami)等电视剧As in a poem or a song, leitmotifs occur again and again: a chair (her father’s, the novelist Roberto Bola ’s, an ornate white plastic one glimpsed in Tangier), a cafe (in Greenwich Village, in the Rockaways, in Berlin), the many, many cups of coffee consumed by the author at home and everywhere she traveled.正如在诗歌或歌曲之中一样,在她的书里,某些主调也会一再重现,比如椅子(她父亲的椅子、小说家罗贝托·波拉尼奥[Roberto Bola 、她在丹吉尔瞥见的一把华丽的白色塑料椅子);咖啡屋(格林威治村的咖啡屋、罗卡韦的咖啡屋与柏林的咖啡屋),还有她在家里和到处旅行时用掉的无数咖啡杯Many of Ms. Smith’s trips are quixotic to say the least. She and Fred journeyed to St.-Laurent-du-Maroni, a small border town in northwest French Guiana so that she could visit the ruins of a French prison colony — because Genet had once written about the place with reverence, and she wanted to retrieve some stones from the site and deliver them to him.史密斯的许多旅行都如同堂吉诃德式的冒险一次,她和弗莱德到法属圭亚那西北部的边境小镇马罗尼河畔圣洛朗区旅行,只为探访法国殖民者监狱的废墟这是因为让·热内曾经满怀敬畏地描写过这个地方,她想从这里带回几块石头送给他As a member of the Continental Drift Club — an obscure society dedicated to Alfred Wegener, an explorer who pioneered the theory of continental drift — she traveled to Reykjavik, Iceland, a meeting, and stayed on to photograph the table used in the 197 chess match between Bobby Fischer and Boris Spassky. A meeting was arranged with Mr. Fischer and after she stood up to one of his obscene tirades — “I can be just as repellent as you, only about different subjects,” she recalls saying — they end up spending several hours singing Buddy Holly songs and other tracks together, much to the surprise of his bodyguard.她还是“大陆漂移俱乐部”的成员,这个鲜为人知的社团是为了向探险家与“大陆漂移学说之父”阿尔弗雷德·魏格纳(Alfred Wegener)致敬,她到冰岛的雷克雅未克参加社团会议,在那里拍下了鲍比·菲舍尔(Bobby Fischer)与鲍里斯·斯帕斯基(Boris Spassky)象棋比赛时用的桌子后来她还在那儿同菲舍尔见了面,他对她发表了一番颇为淫秽的长篇大论,她也只能忍着——她记得自己当时说,“我可以像你一样令人讨厌,不过是以不同的话题”——后来他们一起唱巴迪·霍利(Buddy Holly)和其他人的歌,一连唱了好几个小时,他的保镖都惊呆了There is something faintly surreal or dreamlike about many of Ms. Smith’s adventures. She and Fred are taken into police custody during their trip to French Guiana, after officers pull over their hired driver — who resembles an extra in the Jamaican film “The Harder They Come,” wearing “aviator sunglasses, cocked cap and a leopard-print shirt” — and discover a man curled up in the trunk of his car. She takes Haruki Murakami’s “The Wind-Up Bird Chronicle” with her on a trip to Mexico City to give a speech about the painter Frida Kahlo and finds herself “looking ward to Mexican food, but the hotel was dominated by Japanese fare.”史密斯的冒险故事中总有种淡淡的超现实气息或梦幻色她和弗莱德去法属圭亚那时,警察拦下了他们雇来的司机,那家伙有点像牙买加犯罪电影《不速之客(The Harder They Come)里的人,“戴着飞行员目镜、三角帽,穿着件豹纹衬衫”,警察发现他的车厢里还蜷着一个男人,于是把她和弗莱德也一并拘捕起来她去墨西哥城做一次关于画家弗里达·卡洛(Frida Kahlo)的演讲时,随身戴着村上春树的《奇鸟行状录,她“本来盼着能吃到墨西哥菜,却发现酒店菜单上全是日本料理”During her travels, Ms. Smith makes pilgrimages to the graves of writers she admires: Brecht, Plath, Rimbaud, Genet. The ghosts of such artists haunt these pages, as do the spirits of her beloved husband and brother. And a dark melody of loss ths its way through this volume. Her favorite coat — lost. Her favorite Murakami book — left in an airport bathroom. Her favorite camera — left on a beach. Her favorite neighborhood cafe — closed. Ms. Smith buys a tiny house near Rockaway Beach, Queens, and while it somehow survives Hurricane Sandy, she witnesses the myriad losses of her neighbors — the boardwalk turned to splinters, a friend’s cafe gone, hundreds of homes burned to the ground or flooded.旅行岁月里,史密斯还去过不少自己敬仰的作家墓前朝圣:布莱希特、普拉斯、兰波、热内这些艺术家们的幽魂在她字里行间萦绕不去,当然也少不了她深爱的丈夫与兄弟的魂灵关于失去的黑暗旋律贯穿这本书的始终她最心爱的风衣——丢了她最喜欢的一本村上春树的书——忘在机场厕所里了她最爱用的相机——丢在海滩上了她家附近最好的咖啡屋——关门了史密斯在皇后区罗卡韦海滩买下了一处小小的房子,虽然它挺过了桑迪飓风,但她也亲眼目睹了邻居们的惨重损失,人行道成了废墟、朋友的咖啡屋被冲垮、几百户人家被夷为平地,或者被大水淹没If “Just Kids” was about starting out as an artist and setting th in the world, “M Train” feels more like a look at the past through a rearview mirror. Ms. Smith writes of feeling “a longing the way things were.” She writes about ghosts drawing us away from the present. She writes about singing “What a Wonderful World” Fred at his memorial service and she writes about realizing that she is now older than Fred when he died — and older than many of her departed friends.如果说《只是孩子是关于她作为艺术家的起点,以及她如何在这个世界上启程,《M列车更像是通过后视镜对自己的过去做一次回望史密斯写出了“对事物本来面目的怀念”;写出幽魂如何指引我们暂且离开当下的时光;她写到在弗莱德的追思会上为他唱起《多么美好的世界(What a Wonderful World);写到她发现自己已经比弗莱德去世时年长、比自己所有英年早逝的朋友去世时都要年长时的心情“I’m going to remember everything,” she thinks, “and then I’m going to write it all down. An aria to a coat. A requiem a cafe.” An eloquent — and a deeply moving — elegy what she has “lost and cannot find” but can remember in words.“我要记住一切,”她想,“然后我要把它们都写下来:一首风衣的咏叹调,一咖啡屋的安魂曲”最终,她带来了这曲意味深长而又深切动人的哀歌,那些“失落了就难以寻回”的东西,却可以通过文字被永远铭记 18。

My first reaction to the bn bid from 1st Century Fox Time Warner, which this week settled in a prolonged fight as Time Warner blocked Fox from mounting a rapid assault on its board of directors, was to ask: what problem is Rupert Murdoch trying to solve?我对1世纪福克斯(1st Century Fox)出价730亿美元收购时代华纳(Time Warner)之举的第一反应是:鲁珀特#86;默多克(Rupert Murdoch)想要解决什么问题?在成功抵挡福克斯对其董事会的突袭后,时代华纳已准备好打一场持久战It is not a paucity of high-quality television. Indeed, the problem is the opposite these days: it is hard to find enough time to watch all of the fine series that pour out of broadcast and cable networks, both subscription and free to air: True Detective, Game of Thrones, Orange is the New Black. The Good Wife, The Americans, House of Cards. The list goes on.眼下,高质量的电视节目不是太少,而是太多的确,现在的问题是好节目太多了,我们没时间全部看完无论是付费频道还是免费频道,都有许多优秀的电视剧:《真探(True Detective)、《权力的游戏(Game of Thrones)、《女子监狱(Orange is the New Black),还有《傲骨贤妻(The Good Wife)、《美国谍梦(The Americans)、《纸牌屋(House of Cards),等等、等等Nor are the networks in financial trouble. Competition among cable and satellite operators to gain viewers – and efts by services such as Netflix to draw them away – has created a production boom. In the US, non-sports cable networks receive $bn a year in fees from cable and satellite operators; -on-demand and similar services gain another .5bn, growing by per cent in , according to Barclays.电视台也不缺钱有线和无线运营商对观众资源的争夺,再加上Netflix等视频网站的入局,催生了一场电视剧制作热潮巴克莱(Barclays)数据显示,在美国,非体育类有线台每年从有线和卫星电视运营商那里收到的转播费高达0亿美元,视频点播及类似务实现75亿美元的收入,在年增长%Hollywood studios such as Warner Bros and Fox are feeling the pinch, but this is a golden age of television, in creative and financial terms. That is the healthy outcome of fierce competition in a market where the barriers to entry have been falling, but it could be placed at risk by a wave of megamergers such as FoxTime Warner and Comcast buying Time Warner Cable.华纳兄弟(Warner Bros)和福克斯(Fox)等好莱坞制片公司感受到压力,但无论从创意角度还是资金角度而言,眼下都是电视的黄金时代这是市场进入门槛降低和激烈竞争产生的良性结果然而,一轮大规模并购可能葬送这个黄金时代,比如福克斯对时代华纳的收购、康卡斯特公司(Comcast)对时代华纳有线(Time Warner Cable)的收购Although we are now used to a bevy of dramas and comedies vying our attention – both in the US and on international channels and streaming services – it is worth noting how recent the phenomenon is. The first series of The Sopranos, the HBO series that started the race to the top in television production, began years ago.尽管我们现在习惯了有一大堆电视剧争夺我们的注意力——无论是在美国和海外电视频道,还有流媒体务,但值得一提的是,这种现象的历史并不悠久第一部挑起电视剧争霸赛的剧集是《黑道家族(The Sopranos),由美国家庭电影频道(HBO)制作,开播于年前It was launched two years bee the ill-conceived and disastrous 01 merger of AOL and Time Warner, which was accompanied by a lot of corporate flannel about how AOL would usher old media into the digital age. The upheaval that The Sopranos caused was more potent and enduring than the financial engineering inflicted on HBO’s parent company.那部剧开播两年后的01年,美国在线(AOL)跟时代华纳合并了,当时有许多人鼓吹美国在线会带领老媒体走向数字时代,然而这次并购计划不周,最后惨败收场《黑道家族引发的制作高质量电视剧的趋势,则比针对HBO母公司的“金融工程”更有生命力、也更加持久AOL Time Warner is no more, but HBO’s value has grown hugely – it is the jewel Fox most wants to seize in Time Warner’s crown. The channel gained its power with cable operators by being innovative, not by being big. Subscription channels including Showtime and free ones such as AMC, which broadcast Mad Men, followed its lead.美国在线时代华纳已成过去式,但HBO的价值增长了不少;福克斯对时代华纳发出收购,最想摘取的就是HBO这颗“上的明珠”HBO之所以能征有线电视运营商,靠的是创新,而不是规模时间(Showtime)等付费有线电视频道、以及播放《广告狂人(Mad Men)的AMC等免费有线电视频道,也在追随HBO的脚步This happened in an extremely competitive market, driven by four big broadcast networks, six major Hollywood studios and the disruptive ce of the internet, which enabled new services to be created. No company had sufficient power of distribution, or share of production, to inhibit it.这一切发生在一个竞争极度激烈的市场上,这个市场由四大无线电视台、6大好莱坞制片公司、以及不断带来新型务的互联网的颠覆力量驱动没有一家公司有足够的分销实力和制片份额来阻止竞争Mr Murdoch, of all people, should recognise the benefits of competition since he is an innovator. He broke the grip of the big three broadcast networks by launching the Fox network in 1986. Fox News, which he started in 1996, has ( good or ill) overtaken Time Warner’s CNN. FX, a Fox cable channel, makes good shows such as Fargo.默多克理应最清楚地意识到竞争的好处,因为他是个创新者1986年,他创办福克斯电视,打破了3大无线电视台对市场的把持他于1996年创办的福克斯新闻(Fox News),如今已超越时代华纳的美国有线电视新闻网(CNN)——且不论这是好还是不好福克斯旗下的有限电视频道FX,也制作了像《冰风暴(Fargo)那样的优秀剧集The best quality of News Corp, now split into a publishing company and Fox, is entrepreneurialism.新闻集团(News Corp,眼下已分拆为一家出版公司和福克斯)最优秀的品质在于创新精神Mr Murdoch has founded (or retooled from brands that had been allowed to fade by others) a range of media properties, from The Sunnewspaper to BSkyB, the satellite broadcaster. They would not have survived, or existed, without him.默多克创立了一系列媒体资产(或者再创了在其他人手中原本江河日下的品牌),从《太阳报(Sun)到天空电视台(BSkyB)没有他,这些品牌不可能存活、或根本不会存在Mr Murdoch has another side – that of adept and ruthless dealmaker. He has a history of cing his way into a market and pouncing on an old-established asset, often at a high price. He paid a breathtaking bn Dow Jones in and Fox has returned $bn to shareholders over the past three years in an eft to rebuild credibility.但默多克还有另外一面——精明、无情的生意人硬挤进一个市场、(往往以高价)对一项老牌资产发起收购,这样的事情他干过很多次年,他斥资50亿美元收购道琼斯(Dow Jones),让所有人大吃一惊;为重建可信度,福克斯过去3年来向股东返还了0亿美元I prefer the first Murdoch, but the second is now at work. He has struck just as Jeff Bewkes, Time Warner’s chief executive, has slimmed it down by spinning off Time Warner Cable and Time Inc, but bee its growth potential was fully proved. The bn offer is not enough, and it will be hard to persuade Time Warner without overpaying.我更欣赏第一个默多克,但如今跳出来的是第二个时代华纳首席执行官杰夫#86;比克斯(Jeff Bewkes)刚刚剥离了时代华纳有线和时代公司(Time Inc)也就是说,时代华纳刚刚瘦身成功,但尚未充分明自己的增长潜力,默多克选在这样一个时机出手730亿美元的收购出价根本不足以反映时代华纳的价值,而且要说它接受收购,不付溢价是不可能的The deal makes perfect sense Mr Murdoch. He has coveted it since the 1980s, when he attempted to buy Warner Bros bee setting up Fox. He would control a production powerhouse, with one broadcast network, two film studios and cable networks including HBO, and be the king of the content castle.默多克眼下发起这样一笔交易太符合逻辑了他从上世纪80年代就开始觊觎这样的资产,在创立福克斯之前,他曾试图收购华纳兄弟收购时代华纳将让他拥有一个源源不断产出内容的大工厂:有一家电视台、两家电影公司、还有包括HBO在内的有线电视台——他将成为主宰这个内容城堡的国王What about the rest of us, though? We have been extremely well served by the existing industry structure, and the intensification of competition in the past two decades. Why would the consumer want to lose all of that to consolidation and the rebuilding of media oligopolies?可是,我们这些消费者怎么办?目前的行业结构、以及过去年来白热化的竞争,让我们得以享受一流的务消费者怎么会希望拿现在拥有的一切,去换取电视行业的整合、媒体的重新垄断?Ask a company in this wave of mergers and the answer tends to be: “We have no choice.” Others are growing and they must respond. Media companies cite the power of Comcast, particularly if the Time Warner Cable deal is approved. Comcast itself points to internet giants such as Google.面对眼下这股并购潮,电视行业里的公司可能会说:“我们别无选择”竞争者在成长,它们必须做出应对媒体公司会用康卡斯特的强大为自己辩护,特别是在时代华纳有线的交易获得批准的情况下康卡斯特自己则说,有谷歌(Google)等互联网巨头在后面追着,它不得不这样做The size argument is not self-evident – it helps in negotiations but what matters more is making shows that cable and satellite operators need. The fact that cable companies that once dominated distribution face new online and digital competition is difficult them but is good consumers, and it cannot be solved by merging with others.规模这个理由并不具备说力在谈判中,规模是个有利因素,但更重要的是制作出有线和无线运营商需要的节目有线公司一度主导分销,如今却面临新的网络和数字渠道的竞争,这对它们是个不利因素,但有利于消费者,并购也解决不了它们的问题Bee the entertainment industry plunges into a frenetic round of self-reincing, defensive consolidation, both US regulators and companies should consider: what is so bad about what we have?在业掀起一轮自我强化、防守姿态的整合热潮之前,美国的监管机构和公司都应该考虑一个问题:现在的局面有何不好? 3198。