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重庆市星辰医学美容医院几楼重庆市星宸整形医院看效果怎么样As the memory of high school may cast a lingering shadow on later lives, so “A Brighter Summer Day,” Edward Yang’s magisterial four-hour drama of Taipei teenagers, looms over the landscape of Taiwanese cinema. American recognition has been slower. Completed in 1991 but released in the ed States 20 years later, the film is now out on disc from Criterion.杨德昌长达四小时的巨作《牯岭街少年杀人事件》描绘了台北青少年的生活,它在台湾电影世界中像一座恒久耸立的高峰,正如中学时代的记忆会给一个人以后的人生投下长久的阴影。美国对这部片子的认可来得有些缓慢——它于1991年摄制完成,直到20年后才在美国上映。如今这部片子将出光碟版,由美国公司标准收藏(Criterion)发行。A universal tale of wayward adolescence is woven into complex context. Taiwan, a liberated Japanese colony with a large native Chinese population, was ruled from 1949 on by newly arrived Chinese nationalists backed by the American military. “A Brighter Summer Day” depicts but does not directly explicate the political situation. “Rather than working its way through a neatly predigested story line, it plunges the audience into a vast social fresco,” the British critic Tony Rayns, one of the movie’s first Western admirers, wrote in 1993.这是一个讲述叛逆的青春期的普遍故事,被放在错综复杂的背景之中。台湾是被解放的日本殖民地,有不少原住中国居民,1949年后,新来的中国国民党在美军持下统治了台湾。《牯岭街少年杀人事件》描绘了当时的政治环境,但又并不给出直接的解读。1993年,该片在西方最早的仰慕者之一,英国家托尼·雷恩(Tony Rayns)写道:“影片没有按照一条清晰简化的故事线发展,而是带领观众跳入一幅巨大的社会风情图卷之中。”Along with his contemporary Hou Hsiao-hsien, Mr. Yang (1947-2007) helped usher Taiwanese cinema onto the world stage. Mr. Yang was also the new cinema movement’s most cosmopolitan member — born in Shanghai, raised in Taipei and trained as an engineer at the University of Florida. Early films like “Taipei Story” (1985) and “The Terrorizer” (1986) are laconic depictions of Taiwan’s disaffected urban elite. “A Brighter Summer Day,” on which Mr. Yang worked for three years — one of which he said was devoted to rehearsing his cast’s 60 young members — is more ambitious and personal.杨德昌(1947-2007)与其同代导演侯孝贤一道,令台湾电影跻身世界影坛。生于上海,在台北长大,在佛罗里达大学读工程学的杨德昌,也是新电影运动中最国际化的一位。他的早期电影如《青梅竹马》(1985)和《恐怖分子》(1986)是对台湾愤懑叛逆的都市精英的简练描写。《牯岭街少年杀人事件》则更有野心,也更加个人化,它花费了杨德昌三年的时间。他说,其中一年是用来训练60名年轻演员的。“A City of Sadness” (1989), Mr. Hou’s intimate yet panoramic treatment of Taiwan’s turbulent Cold War history, provided a template for Mr. Yang. While not strictly autobiographical, “A Brighter Summer Day” drew on his own experiences; set in 1960, it is based on a juvenile homicide that occurred at Mr. Yang’s school when he was 13. In an interview published in 2005, Mr. Yang called making the movie “a kind of responsibility that I had to take on.”侯孝贤的《悲情城市》(1989)为台湾在冷战时期的历史描绘了一幅全面而又细致入微的图画,也为杨德昌提供了模板。《牯岭街少年杀人事件》并不是严格的自传,却也取材于他自身的经历;故事发生在1960年,根据杨德昌所在学校里的一宗少年杀人案改编,当时他只有13岁。在2005年的一次访谈中,杨德昌说,拍摄这部电影“是我必须承担的一种责任”。“A Brighter Summer Day” is largely focused on high school turf wars and imported Elvis worship. (The title refers to a misheard lyric from the Elvis Presley hit “Are You Lonesome Tonight?”) But it is also a family drama that evokes Taiwan’s prolonged period of martial law. The protagonist Si’r, a bright, impulsive 14-year-old, is enrolled in a secondary school where the uniforms and regimentation provide an unforced parallel to military rule.《牯岭街少年杀人事件》主要聚焦一个中学里的帮派战争,还引入了“猫王”(Elvis Presley)崇拜。该片的英文名“A Brighter Summer Day”(更明亮的夏日)就是来自“猫王”的金曲《今晚你可孤独吗》(Are You Lonesome Tonight?)里面一句听错了的歌词。但是它也是一部家庭剧,令人想起台湾实行戒严法令的漫长时期。主角四儿是个聪明、爱冲动的14岁少年,在他就读的中学里,制与严厉的管控自然而然与大环境中的军事统治形成对照。Originally on the fringes of a local gang, Si’r is drawn into its power struggles, including an emotional vortex around the murdered gang leader’s girlfriend, Ming. The title notwithstanding, much of the film’s action takes place at night, or is otherwise obscured, reinforcing the sense of a clandestine youth culture coursing beneath the frozen surface of a mobilized society.四儿原本只是处在一个本地帮派的边缘,却被卷入种种权力斗争,包括与帮派遇害头领的女友小明的感情纠葛。和电影的英文名称相反,影片大部分情节发生在夜晚,要么就是在非常昏暗的情境下,勾勒出这个全民动员的社会冰封表面之下肆意发展的秘密青少年文化的氛围。Seeing “A Brighter Summer Day” in the early 1990s as part of a touring package of Taiwanese films, I was impressed by Mr. Yang’s synthesis of detached European art cinema and florid Hollywood youth films; familiar yet exotic, his movie seemed a Michelangelo Antonioni version of “West Side Story” or a Wim Wenders remake of “Rebel Without a Cause,” with the added frisson of pop ballads by Frankie Avalon and Ricky Nelson performed by Taiwanese singers in phonetic English.20世纪90年代初,我在一次台湾电影巡展中看到了《牯岭街少年杀人事件》 ,最打动我的是杨德昌把欧洲艺术电影的超然与好莱坞青年电影的华丽融为一体;他的电影既令人感觉熟悉,又富于异国情调,犹如让米开朗琪罗·安东尼奥尼(Michelangelo Antonioni)来拍摄《西区故事》(West Side Story),或是让维姆·文德斯(Wim Wenders)来翻拍《无因的反叛》(Rebel Without a Cause),再加上台湾歌手用注音的英语演唱弗兰基·阿瓦隆(Frankie Avalon)与里奇·尼尔逊(Ricky Nelson)流行歌的那么一点。To revisit the movie is to appreciate the precision of Mr. Yang’s period details and novelistic touches. An outsize flashlight stolen by Si’r and his friends from a night watchman in one of the movie’s first scenes reappears throughout to illuminate (or not) the tangled conflicts. The school’s proximity to a movie studio allows Mr. Yang to comment both on his film and his characters as historical actors, not least when the duplicitous Ming is given a screen test.重新观看这部影片,可以欣赏到杨德昌的小说式语言和他对时代细节的精确处理。电影开始不久的一场戏里,四儿和朋友们从一个守夜人那里偷来一个大号手电筒,这个手电筒后来多次出现,照亮纷乱的帮派斗争(或者说什么也没有照亮)。学校距离一个电影棚不远,让杨德昌可以借历史角色之口去他的电影和他的人物,尤其是两面派的小明去片场试镜的那场戏。Dialogue from “Rio Bravo” is heard as well, but Mr. Yang’s lofty aspiration may be gauged by several references to “War and Peace,” a book seen by the movie’s most romantic character as the Western equivalent of the Chinese martial arts novels in which he imagines he lives. That may have been Mr. Yang’s feeling as well. Interviewed by Mr. Rayns, he remarked, “If someone asked me to make a 300-episode TV series about these people, I’d have had the material to do it.”片中可以听到《赤胆屠龙》(Rio Bravo)的对白,但是最能体现杨德昌远大抱负的,可能还要算是几次对《战争与和平》(War and Peace)的提及。片中最浪漫的一个角色把这本书当做西方的武侠小说来读,他也幻想自己就生活在武侠的世界里面。杨德昌自己可能也有同感。雷恩采访他时,他说,“如果有人让我为这些人物拍一部300集的电视剧,我也有足够的素材。”American television hasn’t lacked for high school drama, but few series are as treasured as “Freaks and Geeks,” created by Paul Feig and produced by Judd Apatow. Broadcast in 1999 and 2000 but set outside Detroit at the dawn of the Reagan era, the series was canceled by N at midseason but revived on cable, complete with un-telecast episodes, and has enjoyed a long afterlife as a critical and fan favorite. “Freaks and Geeks: The Complete Series,” a new Blu-ray box out from Shout! Factory, provides all 18 episodes both in the original broadcast aspect ratio and a superfluous wide-screen format.美国电视中一直不缺少关于中学生活的剧集,但很少有像《怪胎与书呆》(Freaks and Geeks)那样被人称道的。该剧由保罗·费格(Paul Feig)编剧,贾德·阿帕图(Judd Apatow)导演,于1999年至2000年上映,不过背景设定在里根时代初期的底特律郊外。该剧被N在季中取消,但又在有线台复活,补完了未播出的几集,此后长期受到家与剧迷的青睐。Shout! Factory公司最近发行了《怪胎与书呆全集》(Freaks and Geeks: The Complete Series)蓝光版,收入该剧全部18集,并有原始播出的比例和特别宽屏版两种格式。Mr. Feig (“Bridesmaids,” the coming “Ghostbusters” reboot) and Mr. Apatow (“Trainwreck,” “Knocked Up”) are now kingpins of Hollywood comedy. A number of the show’s stars, including the three main “freaks” — James Franco, Seth Rogen and Jason Segel — also enjoy great box-office visibility, but the series’s real star is Linda Cardellini. In her mid-20s when the show was shot, she was a more convincing teenager than her co-stars, some of whom, like Mr. Rogen, were still in their teens. (More recently, Ms. Cardellini has appeared in AMC’s “Mad Men” and the series “Bloodline” on Netflix.)费格曾执导电影《伴娘》(Bridesmaids),及即将上映的《超能敢死队》(Ghostbusters),阿帕图曾执导《生活残骸》(Trainwreck)和《一夜大肚》(Knocked Up),两人目前都是好莱坞喜剧界的中流砥柱。《怪胎与书呆》中群星荟萃,三位主要的“怪胎”由詹姆斯·弗兰科(James Franco)、塞斯·罗根(Seth Rogen)和杰森·席格尔(Jason Segel)饰演,他们都颇具票房成就。但剧中真正的明星还要算是琳达·卡德里尼(Linda Cardellini)。出演该剧时她已经20多岁了,演起十几岁的青少年来,却比其他几位演员更令人信。其中几位,比如罗根,还是真的十几岁的少年。最近,卡德里尼还出演了AMC台的《广告狂人》(Mad Men)和Netflix的电视剧《至亲血统》(Bloodline)。If not free of sentimental moralizing, “Freaks and Geeks” is generally unflinching in its identification with high school outcasts. The show’s period and something of its attitude is established by the use of Joan Jett’s “Bad Reputation” as a theme; a geekier alternate might have been the Ramones’ bratty satire of in-group exclusivity, “I Don’t Wanna Walk Around With You.”就算没有完全摆脱多愁善感的道德说教,《怪胎与书呆》总体而言还是毫不动摇地站在高中生里的弃儿们这边。剧集主题曲是琼·杰特(Joan Jett)的《坏名声》(Bad Reputation),正好可以反映剧中的时代以及本剧的态度; 如果要显得更“书呆”一点,“雷蒙斯”那首大胆讽刺小圈子排外的《我不愿意和你一块儿走》(I Don’t Wanna Walk Around With You)也很合适。 /201605/445131重医附二院是公立的 Dos 应该做的事:1. Brush for at least two minutes, twice daily, with a fluoridated toothpaste1. 每天至少用含氟牙膏刷牙两次,每次刷两分钟。2. Brush last thing at night and at least on one other occasion2. 临睡前再刷牙。3. Use a small headed toothbrush with medium bristles.3. 最好用中等硬度刷毛的小头牙刷。4. Put a pea-sized blob of fluoride toothpaste on your toothbrush.4. 只需要挤豌豆大小的含氟牙膏在牙刷上。5. Brush along the gum line as well as the teeth themselves5. 刷牙齿之外也要沿着牙龈线刷一下。6. Brush all surfaces of the teeth, including the outer, inner and chewing surfaces as well as the hard-to-reach back teeth and areas around fillings, crowns or other restorations.6. 牙齿每一面都要清洁到,包括牙齿外面、里面和咀嚼面,别忘了刷难以够到的后槽牙和包括填充物和牙冠在内的修复牙体周围。If you have spaces between teeth, it is best to clean these with an interdental or single-tufted brush. Where the spaces between teeth are too tight to fit such a brush, use dental floss or tape.如果你的牙齿间有缝隙,那最好用牙间刷或者单簇牙刷来刷牙缝。如果牙间缝隙很小容不下这种牙刷的话,可以使用牙线或洁牙带。7. If you are unsure about the effectiveness of brushing, use disclosing tablets after brushing to highlight any areas you may have missed.7. 如果刷牙后你还不放心,不妨用一点牙菌斑显露片,可以帮助你找到没刷干净的地方。 /201608/463086重庆一院好吗

重庆星宸美容医院贵不贵重庆市星宸地址查询 BEIJING — Sunshine and playtime are not the hallmarks of Cao Wenxuan’s stories for children. Instead, there are mass starvation and displacement, flooding, plagues of locusts, and mental and physical disabilities.北京——阳光和游戏不是曹文轩儿童故事的标志。相反,他的故事里不乏饥荒、逃荒、洪水、蝗虫灾害,还有精神疾病和残疾。Yet Mr. Cao, 62, is among the most beloved writers in China. Last month, he became the first Chinese author to receive the Hans Christian Andersen Award, regarded as the most distinguished international honor for children’s literature. He shared the prize, handed out every other year, with the German illustrator Rotraut Susanne Berner.不过,62岁的曹文轩是中国最受喜爱的作家之一。上个月,他成为首位获得国际安徒生奖(Hans Christian Andersen Award)的中国作家。他与德国插画家罗特劳特·苏珊·贝尔纳(Rotraut Susanne Berner)分享了这一奖项。该奖被认为是最著名的国际儿童文学奖,每两年颁发一次。“Cao Wenxuan’s books don’t lie about the human condition,” the International Board on Books for Young People said in announcing the award. “They acknowledge that life can often be tragic and that children can suffer.”“曹文轩的书没有掩饰人类的处境,”国际儿童读物联盟(International Board on Books for Young People)在公布这一奖项时说,“它们承认,生活可能时有悲剧,儿童可能遭受苦难。”At the core of Mr. Cao’s stories are his experiences growing up in the eastern coastal province of Jiangsu in the 1950s and ’60s, an era of social upheaval and political tumult throughout China.曹文轩的故事的核心是20世纪五六十年代他在东部沿海省份江苏长大的经历。当时整个中国正经历社会和政治动荡。One recent morning in his spacious, book-lined apartment in the Haidian district here, he said his memories of those experiences continued to be his greatest asset.前不久的一个上午,在他位于海淀区的摆满书籍的宽敞公寓里,曹文轩说,对那些经历的记忆仍是他最大的财富。“China has given us so many heartbreaking stories,” he said. “How can you avoid writing about them? I can’t sacrifice my life experience in order to make children happy.”“中国发生了那么多令人心碎的故事,”他说,“你怎么能避而不写呢?我不能为了让孩子们高兴而牺牲自己的人生经历。”In his own childhood, he said, there was not much homegrown children’s literature. In China then, the concept of literature for children was relatively new, dating to the early 20th century, when translated stories by foreign children’s authors began to appear along with vernacular children’s works like the fairy tale “The Scarecrow” by Ye Shengtao and “Letters to Young Readers” by Bingxin.他说,在自己的童年时期,没有很多本土儿童文学。在当时的中国,儿童文学还是个相对较新的概念,只能追溯到20世纪初,当时外国儿童文学作品的译本开始和本土儿童文学一起出现,后者包括叶圣陶的童话《稻草人》和冰心的《致小读者》。Through his father, an elementary school principal, Mr. Cao said, he some of those stories, as well as Soviet children’s literature and Chinese modern literature. He says Lu Xun, a leading writer and social critic, had the greatest influence on him.曹文轩说,多亏身为小学校长的父亲,他得以读到这样一些故事以及苏联儿童文学和中国现代文学。他说,鲁迅对他的影响最大。鲁迅是一位重要的作家和社会批评家。As Mr. Cao approached adolescence, political tensions in China were escalating, culminating in the Cultural Revolution of 1966-76. Schools were closed for several years.曹文轩快要进入青春期时,中国的政治局势越来越紧张,在1966年至1976年的文化大革命时期达到混乱巅峰。学校停课好几年。The young Mr. Cao traveled the country as part of the dachuanlian, a movement in which young activists were encouraged to meet and sp the message of revolution. But as the student groups known as the Red Guards rampaged, wreaking havoc on the lives of intellectuals, officials and others, Mr. Cao said he was one of many students who held back.年幼的他参加大串联,在全国各地旅行。但他说,随着红卫兵肆意破坏知识分子、官员以及其他人的生活,他和很多其他学生都停止了参与。“I was only 12 or 13 at the time, so we didn’t do much,” he said. “We weren’t violent.”“那时我只有十二三岁,所以我们基本没干什么事,”他说,“我们并不暴力。”“All we did was wear red armbands and write dazibao,” he added, referring to the “big-character posters” that sp political messages during the period.“我们只是戴着红袖章,写大字报,”他补充道,在那个时期,“大字报”被用来传播政治信息。Before long, though, Mr. Cao returned to Jiangsu and resumed his classes. As part of the larger upheaval, some of the top Chinese language and literature teachers in nearby Suzhou and Wuxi had been sent to work at his rural school.不过,不久之后,曹文轩返回江苏,继续上课。作为更广泛的社会动乱的一部分,附近苏州和无锡的一些顶级中国语言文学教师被送往他所在的农村学校工作。As a result, he said, “The Cultural Revolution years were the best education I received.”结果,“在文革那些年,我受到了最好的教育”,他说。Later, as the movement was winding down, he enrolled at Peking University, where he is now a professor of Chinese language and literature. He published his first short story for children in the late 1970s and has not stopped writing since. By his own count, his publications number more than 100 works: novels, academic texts, short stories, essay collections and picture books.后来,文革渐渐平息,他被北京大学录取。现在,他是该校的中国语言文学教授。他在20世纪70年代末发表了自己的第一个短篇童话,之后从未停止写作。据他自己估算,他共出版了100多部作品,包括小说、学术文章、短篇故事、文集和图画书。The chaotic years of the Cultural Revolution form the backdrop for many of his stories. His 2005 book “Bronze and Sunflower,” for example, concerns the friendship of a girl, Sunflower, who follows her father from the city to the countryside, where he has been sent to do hard labor, and Bronze, a boy unable to speak whose parents are impoverished villagers.文革那个动乱的年代是他很多故事的背景。比如,他2005年的作品《青铜葵花》讲述了女孩葵花和男孩青铜之间的友谊。葵花跟随被劳教的父亲从城市来到农村,青铜不会说话,父母都是贫穷的村民。“The children went to school as usual, and their books as usual, but the beautiful rise and fall of their voices as they out loud got weaker and weaker until they were no longer capable of ing aloud,” s one passage in the English translation by Helen Wang. “People were worried. They were sweating with anxiety. When the hunger was at its worst, they thought about gnawing on stones.”书中有这样一段话:“孩子们照样上学,照样读书。但朗朗的、此起彼伏的、充满生机的读书声,已经大大减弱了。孩子们想将课文读响,但却就是读不响。瘦瘦的肚子,使不上劲,让人很着急,一着急,还出虚汗。饿到最厉害时,想啃石头。”Mr. Cao insists that the Cultural Revolution is “merely a setting, not the main subject” of his books. Still, some say his straightforward descriptions of life then are needed now more than ever. In schools today, children are taught only officially approved versions of what, for many of their parents and grandparents, was an intensely formative and frequently traumatic time.曹文轩坚称,文革“只是”他的书的“背景”,不是“主题”。不过,有人说,他对生活的直白描述比以往任何时候都更有必要。如今在学校里,关于文革,孩子们只能听到官方批准的描述。但是对大部分父母和祖父母来说,那是重要的人生转折点,是一个充满创伤的年代。“So much history from that period has been distorted, which is why it’s important for children to know about the past,” said Wu Qing, a retired professor in Beijing who was a jury member selecting the Andersen award. “Cao writes about this period with humanity, and he doesn’t include any political slogans. He writes from his own experience.”“那个时期的很多历史被歪曲了,所以孩子们了解过去的真实情况很重要,”国际安徒生奖评委、北京退休教授吴青说,“曹文轩从人性角度描绘那个时期。他没有提到任何政治口号。他从自己的经历出发去创作。”Today, children’s literature is a large and extremely profitable industry in China. Mr. Cao and other prominent children’s authors, like Yang Hongying and Shen Shixi, have benefited from the rapid expansion of the middle class and a growing obsession with children’s education.如今在中国,儿童文学是一个非常有利可图的大产业。曹文轩和其他著名儿童文学作家,比如杨红樱和沈石溪,受益于中产阶级的迅速膨胀以及对儿童教育越来越强烈的痴迷。Mr. Cao’s novel “The Grass House,” for example, is estimated to have sold over 10 million copies in China. Four of the top 10 richest Chinese authors last year wrote literature for children or young people, according to the newspaper China Daily.比如,曹文轩的小说《草房子》估计在中国售出逾1000万册。据《中国日报》称,去年中国最富有的十位作家中有四位是儿童文学或青少年文学作家。Although Mr. Cao has won several important prizes at home, his work has not been without controversy. Among other things, he has been criticized for promoting outdated gender stereotypes: Boys in his stories are often bigger and stronger, and girls are weaker and more prone to tears.虽然在中国获得了几项重要奖项,但曹文轩的作品并不是没有引起争议。比如,有人批评他宣扬过时的模式化性别观念:在他的故事中,男孩往往更高、更强壮,女孩往往更柔弱,更爱哭。Mr. Cao was quick to dismiss the criticism. “It’s the same in Western children’s literature,” he said.他很快反驳了这种批评。“西方儿童文学也是这样,”他说。But as he has grown older and more experienced, he said, he has become firmer in his belief that, above all, children’s literature should provide “a good foundation for humanity and a correct and accurate moral outlook.”不过,随着年纪增长,阅历更丰富,他更加坚信,儿童文学首先应该“为人性和正确的道德观打好基础”。That is why, he said, he will continue to write about growing up in China during the Mao years, even if that time feels far away to many children.他说,所以他将继续讲述关于在毛泽东时代的中国长大的经历,尽管那个年代似乎离很多孩子非常遥远。“The world is always changing,” he said. “Fashion trends change from day to day, but the fact of people wearing clothes doesn’t change.”“世界永远在变,”他说,“时装潮流天天在变,但人要穿衣这个事实不会变。”“That’s what I’m interested in, the continuity,” he added. “It doesn’t matter what the setting is; universal values and humanity always show through.”“我所感兴趣的是那种持续性,”他还说,“背景不重要;普遍的价值观和人性永不过时。” /201605/441115重庆九院整形美容多少钱

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