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2018年04月23日 06:05:06    日报  参与评论()人

渭南有什么比较好的男科医院渭南男科哪好渭南市第二医院男科预约 Not long after moving to the University of Southampton, Constantine Sedikides had lunch with a colleague in the psychology department and described some unusual symptoms he#39;d been feeling. A few times a week, he was suddenly hit with nostalgia for his previous home at the University of North Carolina: memories of old friends, Tar Heel basketball games, fried okra, the sweet smells of autumn in Chapel Hill.搬到英国南安普顿大学之后(University of Southampton)不久的一天,康斯坦丁·斯蒂基特(Constantine Sedikides)和一个心理学系的同事共进午餐,讨论他最近一些不同寻常的感觉:每周里总有那么些时间,他会突然被怀旧之情所击中,想念他之前在美国北卡罗来纳州立大学(University of North Carolina)的家、老朋友、大学著名的Tar Heel篮球队的比赛、炸秋葵,还有教堂山城中秋天甜美的气息。His colleague, a clinical psychologist, made an immediate diagnosis. He must be depressed. Why else live in the past? Nostalgia had been considered a disorder ever since the term was coined by a 17th-century Swiss physician who attributed soldiers#39; mental and physical maladies to their longing to return home — nostos in Greek, and the accompanying pain, algos.斯蒂基特的同事是一位临床心理学家。他迅速给斯蒂基特做了个诊断:一定是抑郁症。还有什么其他原因会让你沉浸在过去呢?自从17世纪的瑞士医生发明“怀旧”这个单词以来,怀旧一直被认为是一种心理紊乱。这位瑞士医生将士兵们的精神与身体疾病都归咎于他们急切回家的心理,这在希腊语中被称为nostos——“怀旧”的英文单词nostagia的前半部分词根。而后半部分词根的algos,则意为“随之而来的痛苦”。But Dr. Sedikides didn#39;t want to return to any home — not to Chapel Hill, not to his native Greece — and he insisted to his lunch companion that he wasn#39;t in pain.但斯蒂基特士并不想回家——至少不是美国教堂山的家,也不是他的老家希腊。他坚持己见,告诉他的同事:他并没有痛苦的感觉。;I told him I did live my life forward, but sometimes I couldn#39;t help thinking about the past, and it was rewarding,; he says. ;Nostalgia made me feel that my life had roots and continuity. It made me feel good about myself and my relationships. It provided a texture to my life and gave me strength to move forward.;“我告诉他我是一个向前看的人。有时我确实忍不住会怀念过往,但这是有好处的。”他说,“怀旧让我觉得生活有根源与连续性。它让我喜欢自己和身边的人,将我的生活历程编织理顺,给我前进的勇气。”The colleague remained skeptical, but ultimately Dr. Sedikides prevailed. That lunch in 1999 inspired him to pioneer a field that today includes dozens of researchers around the world using tools developed at his social-psychology laboratory, including a questionnaire called the Southampton Nostalgia Scale. After a decade of study, nostalgia isn#39;t what it used to be — it#39;s looking a lot better.他的同事还是表示怀疑,但最终斯蒂基特士赢得了辩论。1999年的这顿午餐给予他启发,使他开创了一个新领域。他在其社会心理学实验室里研制了一套工具,包括一个叫“南安普顿怀旧量表”的调查问卷,如今世界上许多研究者依然在使用这些工具进行研究。经过十余年的研究后,怀旧已经不像人们当年所想的那样糟糕,它的形象变得好多了。Nostalgia has been shown to counteract loneliness, boredom and anxiety. It makes people more generous to strangers and more tolerant of outsiders. Couples feel closer and look happier when they#39;re sharing nostalgic memories. On cold days, or in cold rooms, people use nostalgia to literally feel warmer.从研究结果看来,怀旧可以减少孤独、无聊与焦虑。它让人们对陌生人更加慷慨,对外人更加容忍。当夫妻们拥有共同的怀旧记忆,他们会感觉更亲密快乐。在寒冷的房间里,怀旧会使人们感觉温暖。Nostalgia does have its painful side — it#39;s a bittersweet emotion — but the net effect is to make life seem more meaningful and death less frightening. When people speak wistfully of the past, they typically become more optimistic and inspired about the future.怀旧确实也有痛苦的一面。这是一个苦中带甜的体验,但将利弊权衡来看,怀旧依然能让生活显得更加有意义,让死亡感觉不那么可怕。当人们无限依恋地谈论着过往时,他们通常会对未来更加乐观与富有信心。;Nostalgia makes us a bit more human,; Dr. Sedikides says. He considers the first great nostalgist to be Odysseus, an itinerant who used memories of his family and home to get through hard times, but Dr. Sedikides emphasizes that nostalgia is not the same as homesickness. It#39;s not just for those away from home, and it#39;s not a sickness, despite its historical reputation.“怀旧使我们更人性。”斯蒂基特士说。他认为第一个伟大的怀旧者是奥德修斯(Odysseus,《荷马史诗》中的希腊伊卡岛王,流浪十年终回故土与亲人团聚——译注),曾用亲人与家庭的回忆以撑他度过痛苦的岁月。但斯蒂基特士强调,怀旧并不等同于思乡病,它并不只作用于离家的游子。即使其历史声誉不良,怀旧也不是一种病。Nostalgia was originally described as a ;neurological disease of essentially demonic cause; by Johannes Hoffer, the Swiss doctor who coined the term in 1688. Military physicians speculated that its prevalence among Swiss mercenaries abroad was due to earlier damage to the soldiers#39; ear drums and brain cells by the unremitting clanging of cowbells in the Alps.约翰森·贺佛尔(Johannes Hoffer),那个最初在1688年发明“怀旧”单词的瑞士医生,将它定义为“可导致器质恶性疾病的神经系统疾病”。军队医生们猜测,派驻外国的瑞士雇佣兵中无比流行的怀旧病,是因为他们的耳膜与脑细胞有过早期损伤。受伤的来源则是阿尔卑斯山上永不停息的声声牛铃叮当。A Universal Feeling同样的感受In the 19th and 20th centuries nostalgia was variously classified as an ;immigrant psychosis,; a form of ;melancholia; and a ;mentally repressive compulsive disorder; among other pathologies. But when Dr. Sedikides, Tim Wildschut and other psychologists at Southampton began studying nostalgia, they found it to be common around the world, including in children as young as 7 (who look back fondly on birthdays and vacations).19到20世纪时,怀旧曾被归于“移民精神疾病”、“抑郁症中的一种”、”脑部压抑强迫症”等各种疾病里。但当南安普顿大学的斯蒂基特士、提姆·维尔德舒特(Tim Wildschut)与其他心理学家开始研究怀旧后,他们发现这在世界范围内是一个很正常的现象,甚至年幼如7岁的孩子们,就已经有怀旧现象(他们会愉快地怀念生日与假期)。;The defining features of nostalgia in England are also the defining features in Africa and South America,; Dr. Wildschut says. The topics are universal — reminiscences about friends and family members, holidays, weddings, songs, sunsets, lakes. The stories tend to feature the self as the protagonist surrounded by close friends.“英国对怀旧特征的定义,和在非洲与南美是相同的。”维尔德舒特说。它们拥有共同的主题,如对朋友家人、假期、婚礼、歌曲、落日、湖泊等的怀念。每个故事里都倾向将自己定义为主角,有亲密朋友环绕四周。Most people report experiencing nostalgia at least once a week, and nearly half experience it three or four times a week. These reported bouts are often touched off by negative events and feelings of loneliness, but people say the ;nostalgizing; — researchers distinguish it from reminiscing — helps them feel better.大部分人称每周内至少会经历一次怀旧感受,而几乎一半人每周会有3至4次怀旧体验。研究者们将“怀旧”与“思乡”加以区别,怀旧情绪通常由消极事件与孤独感受唤起。但人们说,怀旧能帮助他们情绪变好。To test these effects in the laboratory, researchers at Southampton induced negative moods by having people about a deadly disaster and take a personality test that supposedly revealed them to be exceptionally lonely. Sure enough, the people depressed about the disaster victims or worried about being lonely became more likely to wax nostalgic. And the strategy worked: They subsequently felt less depressed and less lonely.南安普顿的研究者们也在实验室里测试了这些影响。他们让人们阅读一篇描述致命事故的文章,另外用性格测试找出那些有极度孤独情绪的受试者。果不其然,那些为事故受害者伤心的人与害怕孤独的人们,相比而言更容易沾染上怀旧情绪。而怀旧确实有所作用:他们会感觉并不那么抑郁与孤单了。Nostalgic stories aren#39;t simple exercises in cheeriness, though. The memories aren#39;t all happy, and even the joys are mixed with a wistful sense of loss. But on the whole, the positive elements greatly outnumber the negative elements, as the Southampton researchers found by methodically analyzing stories collected in the laboratory as well as in a magazine named Nostalgia.但这些怀旧的体验并不只有积极的一面。我们的回忆里并不全是笑声。而回忆带给我们的欢乐中,也总掺杂着若有所失的怅惘。但总体而言,怀旧的益处还是大大超越其害处。南安普顿的研究者们进行了系统分析,他们在实验室中采集数据,还分析了一本叫《怀旧》(Nostalgia)的杂志中刊登的故事,得到这一结论。;Nostalgic stories often start badly, with some kind of problem, but then they tend to end well, thanks to help from someone close to you,; Dr. Sedikides says. ;So you end up with a stronger feeling of belonging and affiliation, and you become more generous toward others.;“怀旧的故事通常有很不好的开头,一般都带着一些问题,但它们总能有个好的结局,因为有亲近的人给予你帮助,”斯蒂基特士说,“所以你能以一种强烈的归属感结束怀旧体验,而会对他人更宽容慷慨。”A quick way to induce nostalgia is through music, which has become a favorite tool of researchers. In an experiment in the Netherlands, Ad J. J. M. Vingerhoets of Tilburg University and colleagues found that listening to songs made people feel not only nostalgic but also warmer physically.音乐可以很快引发怀旧,于是它成为研究者们最喜欢的工具。在荷兰蒂尔堡大学(Tilburg University)的一个实验里,研究者文格霍特(Ad J. J. M. Vingerhoets)与其同事发现,听音乐不仅可以让人怀旧,还能感觉到身体更温暖。That warm glow was investigated in southern China by Xinyue Zhou of Sun Yat-Sen University. By tracking students over the course of a month, she and colleagues found that feelings of nostalgia were more common on cold days. The researchers also found that people in a cool room (68 degrees Fahrenheit) were more likely to nostalgize than people in warmer rooms.在中国南方的中山大学里,周欣悦仔细探索了这种温暖效应。她和她的同事花了一个月时间追踪记录学生们,结果发现在寒冷天气里,这种怀旧情绪更为常见。研究者们也发现,当人们呆在20度的凉爽房间里时,他们比呆在暖和房间里更容易怀旧。Not everyone in the cool room turned nostalgic during the experiment, but the ones who did reported feeling warmer. That mind-body link, Dr. Wildschut says, means that nostalgia might have had evolutionary value to our ancestors long before Odysseus.在实验中,并不是所有呆在凉爽房间里的人都会怀旧,但那些怀旧的人确实表示感觉更温暖了。斯蒂基特士说,这个心理与身体的联系表示,也许早在奥德修斯之前,怀旧已经对我们的祖先产生进化上的意义。;If you can recruit a memory to maintain physiological comfort, at least subjectively, that could be an amazing and complex adaptation,; he says. ;It could contribute to survival by making you look for food and shelter that much longer.;“如果回忆可以至少让你自我感觉身体舒适,这都会是一种神奇并复杂的环境适应,”他说,“它让你可以坚持更长时间以寻觅食物与庇护,这有助于生存。”Finding a Sweet Spot寻找甜蜜的时刻Of course, memories can also be depressing. Some researchers in the 1970s and #39;80s suggested that nostalgia could worsen a problem that psychologists call self-discontinuity, which is nicely defined in ;Suite: Judy Blue Eyes,; by Stephen Stills: ;Don#39;t let the past remind us of what we are not now.; This sense of loss and dislocation has repeatedly been linked to both physical and mental ills.当然,回忆也可能让人绝望。20世纪七八十年代的研究者们认为,怀旧可以恶化“自我中断”(self-discontinuity)这种疾病。史蒂芬·史提斯(Stephen Stills,美国歌手——译注)在《组曲:朱迪蓝色的眼睛》(Suite: Judy Blue Eyes)中准确地描述了这个问题:“不要让过去来提醒我们现在已不再如此。”这种怅然所失与情绪错位经常与身体或脑部疾病相联系。But the feeling of discontinuity doesn#39;t seem to be a typical result of nostalgia, according to recent studies. In fact, people tend to have a healthier sense of self-continuity if they nostalgize more frequently, as measured on the scale developed at Southampton. To understand why these memories seem reassuring, Clay Routledge of North Dakota State University and other psychologists conducted a series of experiments with English, Dutch and American adults.但根据新近研究结果,这种自我中断的感觉并不一定是怀旧体验的结果。事实上,根据南安普顿怀旧量表问卷,如果人们增加怀旧频率,他们会倾向于拥有一种更健康的自我中断情绪。为了了解记忆令人欣慰的原因,北达科他州州立大学(North Dakota State University)的克雷·罗德里奇(Clay Routledge)与其他心理学家在英国、荷兰与美国成人中进行了一系列实验。First, the experimenters induced nostalgia by playing hit songs from the past for some people and letting them lyrics to their favorite songs. Afterward, these people were more likely than a control group to say that they felt ;loved; and that ;life is worth living.;在实验中,部分受试者先听了一些过去的流行歌曲,并读了一些他们所喜爱歌曲的歌词,使他们产生怀旧情绪。相比起对照组,这些受试者更可能感觉“被爱”与“生活有意义”。Then the researchers tested the effect in the other direction by trying to induce existential angst. They subjected some people to an essay by a supposed Oxford philosopher who wrote that life is meaningless because any single person#39;s contribution to the world is ;paltry, pathetic and pointless.; Readers of the essay became more likely to nostalgize, presumably to ward off Sartrean despair.接着,这些研究者尝试唤起受试者的焦虑,以测试怀旧在另一个极端的作用。他们让部分受试者阅读一篇由所谓牛津哲学家写作的文章,文章里讲述因为个人对世界的作用“微不足道、悲惨与无意义”,生活只是虚无。结果表明,文章的读者们更容易产生怀旧情绪,这也许是为了驱赶这种萨特(Sartre)式的绝望。Moreover, when some people were induced to nostalgia before ing the bleak essay, they were less likely to be convinced by it. The brief stroll down memory lane apparently made life seem worthwhile, at least to the English students in that experiment. (Whether it would work with gloomy French intellectuals remains to be determined.)另外,如果这些被试者的怀旧情绪被唤起后,再来阅读这篇讨论人生荒凉的文章时,他们比较不容易被作者说。至少对接受实验的英国学生们而言,在记忆隧道中流连体验能让他们认识到生活的价值。(这是否能对忧郁的法国文人起作用则有待分解。);Nostalgia serves a crucial existential function,; Dr. Routledge says. ;It brings to mind cherished experiences that assure us we are valued people who have meaningful lives. Some of our research shows that people who regularly engage in nostalgia are better at coping with concerns about death.;“怀旧对于存在感至为关键,”斯蒂基特士说,“它唤起了珍贵的记忆,让我们相信个人的价值,觉得我们拥有有意义的生活。我们的一些研究表明,那些经常沉入怀旧情绪的人更能面对死亡这一概念。”Feeding the Memory Bank在记忆里储存The usefulness of nostalgia seems to vary with age, according to Erica Hepper, a psychologist at the University of Surrey in England. She and her colleagues have found that nostalgia levels tend to be high among young adults, then dip in middle age and rise again during old age.怀旧的效果似乎取决于年龄。这是英国萨里大学(University of Surrey)心理学家爱丽克·何派(Erica Hepper)的研究结果。她和同事发现,年轻人的怀旧程度相对较高,中年人程度偏低,而老年人则又重新回到较高的怀旧程度中。;Nostalgia helps us deal with transitions,; Dr. Hepper says. ;The young adults are just moving away from home and or starting their first jobs, so they fall back on memories of family Christmases, pets and friends in school.;“怀旧可以帮助我们面对生活的转折期。”何派士说,“当年轻人刚刚搬离家乡,开始他们第一份工作时,他们会沉浸于圣诞节家庭团聚、宠物和学校朋友的回忆里。”Dr. Sedikides, now 54, still enjoys nostalgizing about Chapel Hill, although his range has expanded greatly over the past decade. He says that the years of research have inspired strategies for increasing nostalgia in his own life. One is to create more moments that will be memorable.斯蒂基特士现在54岁了,他依然很享受对美国教堂山城的怀旧,虽然他的怀旧范围已经在过去十年中被大大扩展了。他说,多年的研究给予他一些启发,以增加自己生活中的怀旧对象,其中一项是:创造更多值得回忆的时光。;I don#39;t miss an opportunity to build nostalgic-to-be memories,; he says. ;We call this anticipatory nostalgia and have even started a line of relevant research.;“我不愿意错过任何机会,以制造值得怀旧的记忆。”他说,“我们管这个叫可预期的怀旧,我们甚至已经开始这个相关研究了。”Another strategy is to draw on his ;nostalgic repository; when he needs a psychological lift or some extra motivation. At such moments, he tries to focus on the memories and savor them without comparing them with anything else.斯蒂基特士从研究中还得到了另一个启发。当他需要让自己快乐起来,或者需要一些心理激励时,他便从其“怀旧储备”中汲取能量。在这样的时刻里,他会试着让自己专注于回忆,细细品尝往事,而不去将它们与其他事情做对比。;Many other people,; he explains, ;have defined nostalgia as comparing the past with the present and saying, implicitly, that the past was better — ‘Those were the days.#39; But that may not be the best way for most people to nostalgize. The comparison will not benefit, say, the elderly in a nursing home who don#39;t see their future as bright. But if they focus on the past in an existential way — ‘What has my life meant?#39; — then they can potentially benefit.;“许多其他人,”他解释道,“将怀旧定义为用往事与现状对比,然后自我暗示地认为过去的生活更美好,感叹着‘那些年#39;。”但对于大多数人而言,这都不是最好的怀旧方法。比如当老年人在养老院里对比现状与过往,这并无法让他们觉得未来无限美好。但如果他们将往事看成一种人生存在的方式,思考‘我的生活意味着什么?#39;,他们则可能从怀旧中获益。This comparison-free nostalgizing is being taught to first-year college students as part of a study testing its value for people in difficult situations. Other experiments are using the same technique in people in nursing homes, women recovering from cancer surgery, and prison inmates.这种不做对比的怀旧已经作为研究的一部分,用于一年级本科生,以测试人们在不同情况下时怀旧的作用。其他实验则采用相同的方法,用以测试养老院中的老人、刚从癌症手术中恢复的妇女与监狱的囚犯。Is there anyone who shouldn#39;t be indulging in nostalgia? People who are leery of intimate relationships — ;avoidant,; in psychological jargon — seem to reap relatively small benefits from nostalgia compared with people who crave closeness. And there are undoubtedly neurotics who overdo it. But for most others, Dr. Sedikides recommends regular exercises.有没有完全无法陷入怀旧的人呢?有的,相比起渴望亲近的人,那些对亲密关系持怀疑态度的人便在怀旧中收获较少,他们在心理学术语中被称为“回避型人格”。当然也有神经病患者会过分沉浸于怀旧之中。然而对大部分人而言,斯蒂基特士建议我们可以对此做有规律的练习。;If you#39;re not neurotic or avoidant, I think you#39;ll benefit by nostalgizing two or maybe three times a week,; he says. ;Experience it as a prized possession. When Humphrey Bogart says, ‘We#39;ll always have Paris,#39; that#39;s nostalgia for you. We have it, and nobody can take it away from us. It#39;s our diamond.;如果你没有神经机能病,也没有回避型人格,我觉得如果你一周怀旧两到三次,会对你有帮助。”他说:“将怀旧的体验作为一种珍贵的经历,亨弗莱·鲍嘉(Humphrey Bogart)说:‘我们会永远拥有巴黎#39;(电影《卡萨布兰卡》的经典台词——译注)时,怀旧便是我们的‘巴黎#39;。我们拥有这些记忆,没有人能将它们夺去。这是我们的无价之宝。” /201410/334696“I went to Graceland once,” Nick Cave said. “The rest of the band went in, but I stayed out on the curb, smoking cigarettes and feeling sorry for myself. Those last Elvis performances — the ones for television, when he was aly sick — I must have watched those clips a hundred times. They’re like crucifixions.” He paused for a moment. “I couldn’t bring myself to go inside.”“我去过一次格雷斯兰(Graceland,埃尔维斯·普莱斯利在孟菲斯的故居,现已成为物馆——译注),”尼克·凯夫(Nick Cave)说,“乐队其他人都进去了,但我留在外面,在路边抽烟,觉得很难过。埃尔维斯的最后几场演出录像我看过一百多遍,就是他在电视台的演出,当时他已经病了。它们就像是十字架上的受难。”他停顿了一下。“我真是没法走进去。”It was a bright afternoon in early February, and Cave was in a boutique in Berlin’s trendy Friedrichshain district, buying souvenirs for his sons. “Do you have these in kids’ sizes?” he asked, holding up a belt with the word “kleptomaniac” engraved across its buckle. The saleswoman was making a serious effort not to seem star-struck, but Cave’s attention was elsewhere. “These might work,” he said in his travel-worn Australian accent, as he squinted fiercely at a pair of fuzzy white abominable snowmen. “My kids are at that lovely age where they’re just figuring out what’s good in music,” he said. “They’re just grabbing stuff, on Spotify and all that, and occasionally they’ll find something that’s really mind-blowing. But sometimes I hear what they’re playing, and I just want to cut my wrists.”这是二月初一个阳光明媚的上午,凯夫在柏林时尚的弗里德里希海因区一家精品店里给儿子们买纪念品。“这个有儿童型号的吗?”他举着一条搭扣上刻着“偷窃癖”字样的腰带问道。女店员尽力让自己看起来不是追星族的样子,但凯夫的注意力已经转移了。“这个可能还行,”他斜眼瞪着一对丑陋的白色毛绒雪人,澳大利亚口音里带着旅途劳顿的疲惫。“我的孩子们正在可爱的年纪,开始从音乐中发现美好,”他说,“他们什么都听,从Spotify(一种数码音乐务——译注)之类的地方,有时候还能找到非常惊人的东西。但有时候我听着他们放的音乐简直想割腕。”Cave, perhaps best known as the frontman for the seminal postpunk groups Birthday Party and Nick Cave and the Bad Seeds, was in Germany to promote “20,000 Days on Earth,” a film about his life, which was showing at the Berlin film festival. At 56, Cave can claim at least half a dozen vocations: songwriter and performer with the Bad Seeds and their garage-rock offshoot, Grinderman; screenwriter of the acclaimed (and extremely gory) movies “Proposition” and “Lawless”; novelist; film-score composer; lecturer; script doctor; and on certain (perhaps thankfully) rare occasions, even actor. His books are best sellers; his film scores have won prizes; musicians as far-flung as the Red Hot Chili Peppers and St. Vincent cite him as an influence; and the Bad Seeds’ most recent album, “Push the Sky Away,” has proved to be one of the most commercially successful of the band’s career, reaching No. 1 on the UK Independent album chart.凯夫以影响深远的后朋克乐队“生日派对”(Birthday Party)和“尼克·凯夫与坏种子”(Nick Cave and the Bad Seeds)的主唱而为人们所知,他来到德国是为了宣传关于他生平的电影《地球两万日》(20000 Days on Earth),当时该片正在柏林电影节上放映。尼克今年56岁,可以说同时身兼好几种角色:“坏种子”和其车库摇滚风格的衍生乐队“研磨者”(Grinderman)的词曲作者及主唱;极度血腥、备受好评的电影《关键协议》(Proposition)和《无法无天》(Lawless)的编剧;小说家;电影配乐作曲家;演讲者;剧本“医生”;偶尔(或许幸亏是偶尔)甚至还客串演员。他的书是畅销书;他的电影配乐得过奖;从“红辣椒”(Red Hot Chili Peppers)到圣文森特(St. BVincent),各种各样的乐手都声称受他影响;“坏种子”最近的专辑《推开天空》(Push the Sky Away)被明是乐队商业上最大的成功之一,在英国独立唱片排行榜位居榜首。“As far as work goes, I’m something of a megalomaniac,” Cave told me later that day. “But a megalomaniac with extremely low self-esteem.” We were sitting in the restaurant of his hotel in Berlin Mitte, trying to have a conversation in the face of frequent interruptions from festival staff, acquaintances and a seemingly never-ending stream of admirers. Tall, gaunt and slightly ungainly, in his snakeskin shoes, chunky rings and rakishly well-tailored suits, Cave resembles nothing so much as a postmillennial hybrid of bookie and peer of the realm. His long, backswept hair, dyed black since the age of 16, frames a face that has been described both as “angelic” and “hideous to the eye,” the latter by Cave himself, in song. It’s the kind of look only a rock star could get away with, especially at his age, but on Cave it seems as dignified — as inexplicably appropriate — as those rhinestone-studded jumpsuits did on Elvis in his later years. Cave’s public persona has been called “theatrical,” but a more precise term might be cinematic. Like many self-mythologizers, charismatics and plain old eccentrics, he has always appeared to be performing in a movie only he himself could see.“在工作方面,我是个自大狂,”当天晚些时候,凯夫对我说。“但也是一个自尊心很低的自大狂。”他的酒店位于柏林米特区,我们坐在酒店的餐厅里勉强交谈,不时有电影节的工作人员、熟人和没完没了的崇拜者来打扰。凯夫高大瘦削,稍显不利索,穿着蛇皮鞋,戴着粗大的戒指,穿着精心裁剪、潇洒帅气的西装,看上去不折不扣是千禧年后登记赌注者与贵族的混合体。他的长发向后梳去,自从他16岁后就总是染成黑色,衬托他那张既可以描述为“天使一般”,也可以描述为“看上去很丑”的面孔——后一个是凯夫自己在一首歌里唱的。这样的相貌只有长在摇滚明星脸上才能让人受得了,尤其是到了他这样的年纪,但是凯夫穿着这样的衣显得很庄严,有一种无法言喻的恰如其分,就像埃尔维斯晚年穿着镶满水钻的连身衣裤那样。凯夫的公众形象可以被称为“有戏剧性”,但其实“有电影感”才是更合适的字眼。就像很多缔造自我神话的人、拥有领袖魅力的人与所谓怪人们一样,他仿佛总在出演一部只有他自己能看到的电影。The closest the rest of us may come to seeing that movie may well be “20,000 Days on Earth.” Cave co-wrote the film with its directors, the artists Iain Forsyth and Jane Pollard, with whom he has collaborated on a number of smaller projects — music s and short films. It’s unorthodox, to put it mildly, for the subject of a documentary to be given a screenwriting credit, but very little about “20,000 Days” could be described as orthodox. As its title suggests, the film is an investigation into the passage of time, into memory and aging and artistic survival, as dramatized by a single imaginary day in the life of its subject, the musician Nick Cave. While working on a song, Cave began to play with the idea of measuring his life in days instead of years, and Forsyth and Pollard, who were documenting the band as they recorded “Push the Sky Away,” saw potential for a film. When I asked Cave what drew him to the notion of Day 20,000, he regarded me dryly. “ ‘Fifty-four Years and Nine Months on Earth’ didn’t have quite the same ring to it, somehow.”关于这部电影,我们其他人所能看到的最接近的版本可能就是这部《地球两万日》,凯夫与该片导演伊埃恩·弗希斯(Iain Forsyth)、简·波兰德(Jane Polland)合写了剧本,之前他曾经和这两位艺术家合作过若干音乐录像和电影短篇之类的小项目。委婉点说,一部纪录片还要有编剧,这种做法不算正统,不过《地球两万日》里几乎根本没有什么正统的东西。正如片名所示,影片是在探索时间的流逝、记忆、老去,以及艺术的生存,通过呈现本片主角,音乐家尼克·凯夫生活中虚构的一天来将这种探索戏剧化。凯夫在写歌的时候,开始思考以天数为单位,而不是以年为单位来计算自己的生命,弗希斯和波兰德在拍摄乐队录制《推开天空》时,觉得素材有可能拍一部电影。我问凯夫是怎样得到“两万天”这个概念的,他面无表情地回答:“《地球45年零9个月》可没这么顺口。”A number of recent documentaries have explored the nebulous boundary between reportage and fiction, but in “20,000 Days,” Pollard and Forsyth try to dispense with that boundary altogether. From the first frame to the last, the film was plotted and set-dressed and professionally lit and has all the glitter of a big-budget feature; but, while a series of voice-overs by Cave were scripted, every on-screen interaction — from a visit to a therapist to a ride in his Jaguar with Kylie Minogue — was spontaneous and unrehearsed. In the case of figures from Cave’s past with whom he had fallen out of contact (like the founding Bad Seeds guitarist Blixa Bargeld, who left the group abruptly more than 10 years ago), the co-directors went even further: No conversation about the scene was allowed until the camera was rolling.最近,有很多纪录片都在探索事实报道与虚构之间的朦胧边界,但在《地球两万日》中,波兰德和弗希斯试着干脆甩掉这个边界。从第一个镜头到最后一个镜头,影片情节和场景都是设计好的,有专业照明,还有各种花费不菲的大制作;但是,片中凯夫的画外音(有字幕)都是自发的、未经排练的——先是去看治疗师,然后又和凯莉·米洛(Kylie Minogue)一起开着捷豹车兜风。在处理那些和凯夫的过去有关,但已经失去联系的人们时(比如“坏种子”最早的吉他手布里克萨·巴格尔德[Blixa Bargeld],十几年前突然离开了乐队),合作导演们甚至走得更远:在拍摄之前,不许谈论相关场景。“Nick would have never gone for a straightforward rock-doc,” Forsyth told me in Berlin. “We decided to go in a direction that combined reality with fantasy as seamlessly as possible — which, if you think about it, isn’t too far from the transaction between a rock star and his fans. People want desperately to enter the world Nick creates in his songs. You can look around when the Bad Seeds are playing and see precisely which version of Nick — the junkie, the outlaw, the lover — each person in the crowd wants to be.”“尼克从来没拍过那种平铺直叙的摇滚纪录片,” 弗希斯在柏林接受采访时说。“我们决定尽可能地把现实和幻想天衣无缝地结合起来——如果你仔细想想,这就和摇滚明星与歌迷之间的互动差不多。人们迫切渴望着走入尼克在歌曲中创造的世界。当‘坏种子’演奏的时候,你四下张望,就看到尼克的形象,他是瘾君子、不法之徒、爱人,是那种人群里所有人都想成为的人。”The film had its premiere at Sundance in January (it won the world documentary awards for best directing and best editing) and will be released nationally in September, following preview screenings this summer that coincide with Cave’s North American tour. That such an idiosyncratic movie would capture not just the imagination of the festival crowd but also of a U.S. distributor is testament, contrary to what even the most ardent fan in his gutter-punk glory days could have foreseen, to the remarkably broad appeal that his elegant, lecherous, literate, unapologetically romantic persona has come to have in recent decades.影片于1月在圣丹斯电影节首映,赢得了最佳导演和最佳剪辑两项国际纪录片大奖,9月将在全美公映,今年夏天将有配合凯夫北美巡演的试映。这样一部奇异的影片不仅能迷住电影节的观众,也能抓住美国电影分销商的心,这也确实明几十年来,他这种优雅、好色、文艺、固执的浪漫人格有着广泛的魅力,在他“流浪汉朋克”的全盛时期,即便最忠诚的歌迷也无法预见这一点。Perhaps more than any of his contemporaries — many of whom have gradually faded from view (Bauhaus, the Pop Group) or been relegated to the purgatory of back-catalog tours (the Sisters of Mercy, the Cure) — Cave has managed to invent a self-contained, coherent fictional world that both he and his followers can enter at will; a kind of exercise in collaborative mythmaking that seems to deepen with each variation on the theme. “If Nick Cave decided to start a cult,” I heard one woman say after the Berlin screening, “I’d be the first to join.”他的同代人已经有许多渐渐淡出人了人们的视野,比如“包豪斯”(Bauhaus)和“流行组合”(Pop Group),还有很多人则进入了只靠老歌到处巡演的炼狱,比如“仁慈姊”(the Sisters of Mercy)和“治疗”(the Cure);或许凯夫与他们不同,他创造出一个自给自足、条理分明的虚构世界,他和歌迷们可以随心所欲地进入;这是一种合作创造神话的做法,随着每一次主题的变更而深化。“如果尼克·凯夫决定创造一个邪教,”柏林的上映之后,我听到一个女人说,“我肯定第一个加入。”“Nothing happened in my childhood — no trauma or anything,” Cave said, when I asked after the origins of his sensibility. “I just had a genetic disposition toward things that were horrible.”“在我的童年里什么事都没发生——没有创伤之类东西,”当我问到他何以如此敏感的时候,凯夫回答,“我只是对可怖的东西有一种遗传的特殊感觉。”Nicholas Edward Cave was born on Sept. 22, 1957, in Warracknabeal, Victoria (population now 2,745), northwest of Melbourne. His mother and father, Dawn and Colin Cave — the librarian and English teacher of the high school he would eventually attend — instilled a reverence for the arts in their children from an early age. “My father me the first chapter of ‘Lolita’ when I turned 12,” Cave told me. “Something happened to him when he it aloud. He became a different man. He became elevated. I felt like I was being initiated into this secret world: the world of sex and adulthood and art. At the same time, though, I was only a kid, and I couldn’t always meet his expectations. He’d catch me ing some nasty little thriller, and he’d rip it out of my hands and tell me: ‘You want a bleeding body count? Read “Titus Andronicus”!’ ”尼古拉斯·爱德华·凯夫(Nicholas Edward Cave)于1957年9月22日生于墨尔本西北部维多利亚的瓦拉克纳比尔(现在这里的人口是2745人)。母亲多恩(Dawn)和父亲柯林·凯夫(Colin Cave)是同一所中学的图书管理员和英语教师,尼克后来也上了这个学校。父母很早就把对艺术的崇敬注入了孩子们心田。“12岁的时候,爸爸就给我读《洛丽塔》(Lolita)的第一章,”凯夫说,“在他高声朗读的时候,有些事情发生了,他成了一个完全不同的人,他得到了升华。我觉得自己被引入了这个秘密世界,这个由性爱、成人与艺术构成的世界。但是,与此同时,我还是个孩子,我总是达不到他的期望。他看见我在读低劣的惊悚小说,就把它从我手里抢走,说:‘你想看流血的身体?去看《泰特斯·安德洛尼克斯》(Titus Andronicus,莎士比亚作品——译注)吧。’”In spite of (or perhaps because of) his parents’ presence both at home and at school, Cave lasted barely a year at Wangaratta High before being expelled (“for general disruption,” as he described it to me.) His mother maintains that he was pulled out before he could be kicked out, but either way, his departure was of little consequence to him. He had decided that he was going to be a painter. “I had huge artistic ambitions as a kid,” he told me. “I liked a lot of the tortured, gothic, religious stuff — Matthias Grünewald and Stefan Lochner and the Spaniards — and I wanted to make paintings with that kind of power. There was something about just being in a room by yourself and making art that excited me. It’s exciting to me still, this weird medium of applying paint to a canvas and the restrictions of a square, two-dimensional frame.” He paused. “It’s not unlike the restrictions of a song, in a way.”尽管(或者说是因为)父母既出现在家里,也出现在学校,凯夫在万格拉塔中学只呆了一年就被除名,他对我说是因为“经常搞破坏”。他的母亲则说被开除之前他就已经退学了,但不管怎样,离开学校对他来说不算什么,他已经下决心要当画家。“我小时候很有艺术抱负,”他对我说。“我喜欢酷刑、哥特和信仰方面的主题——马蒂亚斯·格吕内瓦尔德(Matthias Grünewald)、斯特凡·洛赫纳(Stefan Lochner)和西班牙画家——我也想用那种力量去画画。独自呆在一个房间里进行艺术创作,这种行为令我兴奋。现在仍然令我兴奋,把颜料涂在帆布上,在正方形的两维框架限制内进行创作,这让我兴奋。”他停顿片刻,“这在某种程度上和创作一首歌的限制并没有什么不一样。”Cave ended up at a boarding school in Melbourne, where he fell in with a crew of degenerates in training who had more or less taken over the school’s art department, and they soon founded a band, the Boys Next Door. The songs that Cave wrote with Mick Harvey, the band’s stoic, clean-cut guitarist, formed the beginning of a collaboration that would last from 1974 to well past the end of the millennium. The Boys Next Door soon won a small but rabid following, in part by carrying audience confrontation to extremes that not even their primary points of reference — the Stooges and the New York Dolls — saw fit to explore. “The only places that would have us were beer barns and [military] league clubs,” Cave told me, smiling nostalgically. A typical show might include brawls with the audience, instruments being played in incompatible time signatures and passed-out band members, to say nothing of the lyrics themselves, which one critic described as “a mixture of paranoia, demented self-parody and neurotic, inebriated passion.” By the time the band rechristened itself the Birthday Party, in 1978, the number of clubs they were banned from outnumbered those that would have them, and their cult status in Australia was assured.凯夫后来去了墨尔本的一所寄宿学校,和一伙坏孩子们混在一起,他们多少控制了学校的艺术系,很快就组了一名叫“邻家男孩”(the Boys Next Door)的乐队。歌是凯夫和米克·哈维(Mick Harvey)合写的,哈维是乐队的吉他手,性格坚韧克己、鲜明清晰。两人的合作就这样从1974年一直延续下来,直至度过20世纪的终点。“邻家男孩”很快赢得了一批拥趸,人数虽少却很狂热,他们让观众去面对极端的事物,这些东西就连“傀儡”(Stooges)和“纽约妞儿”(New York Dolls)等他们组乐队时最重要的参照者们也不曾去探索。“让我们去演出的只有啤酒大酒吧和(军队的)社团俱乐部,”想起往事,凯夫面带微笑。演出的时候他们总会和观众打架,乐器的拍子都互相合不上,乐队成员们喝得烂醉,更别说他们自己写的歌词,有个家说它们是“混合了妄想狂、精神错乱的自我戏仿,以及神经质与醉酒的热情”。1978年,乐队改名为“生日派对”,禁止他们入内的酒吧比允许他们演出的酒吧还多,他们在澳大利亚被视为怪人。Cave’s life had begun to embody the degradation and excess that the Birthday Party celebrated in its songs. His casual use of heroin and speed grew into a full-blown dependency, and he was acquiring an estimable record of arrests. On Oct. 11, 1978, when Cave was being held in a Melbourne police station on charges of vandalism and theft, the police informed Cave and his mother, who came to post bail, that his father had just been killed in a car accident. This conjunction of events is one he still has difficulty discussing. One of the most revealing scenes in “20,000 Days” comes during Cave’s morning therapy session, in which the therapist, Dr. Darian Leader, tries to explore the subject of Colin Cave’s death. “I was 19,” Cave begins, speaking with obvious effort, “and that really just came out of the blue. That was something that kind of rocked the whole family.” He then reverts to a tense and stony silence. Leader finally says, “Shall we stop there?”凯夫的人生开始像“生日派对”的歌中所唱的那样,变得堕落放荡。他以前只是偶尔才使用海洛因和“极速”安非他命,到这时却开始上瘾,还被逮捕了很多次。1978年10月11日,凯夫被墨尔本警察局以破坏他人财产和盗窃罪名拘留,警方通知他和来保释他的母亲,他的父亲刚才在车祸中去世了。这个巧合他到现在都不太愿意谈起。在《地球两万日》中,凯夫接受晨间治疗,这是片中最为真情流露的一刻,治疗师达利安·里德士(Dr. Darian Leader)想深入探讨柯林·凯夫去世这个话题。“我当时19岁,”凯夫一副尽力去表达的样子,“这确实来得太突然。震撼了全家人。”然后他开始变得紧张,像石头一样沉默。最后里德说:“我们要不就到这儿吧?”In the winter of 1980, the Birthday Party moved to London, where it released two brilliant albums, “Prayers on Fire” and “Junkyard.” Cave, who at first didn’t care much for London — perhaps because he spent much of his time there in a Maida Vale squat, going through periodic heroin withdrawal — felt himself drawn to Berlin, where rent was cheap, amphetamines were plentiful and the band had played some memorable shows. “We found a genuine artistic community in Berlin,” Cave told me. “Filmmakers, musicians, painters. . . . There was a level of inclusion that we never had in London.”1980年冬,“生日派对”迁往伦敦,在那里发行了两张精的专辑《火焰上的祈祷》(Prayers on Fire)和《垃圾场》(Junkyard)。凯夫一开始不怎么喜欢伦敦,或许是因为在伦敦期间他大部分时间都在梅达谷的一处住所里,忍受海洛因的戒毒反应;后来他觉得柏林很有吸引力,那里房租便宜,有大量安非他命,乐队曾在那里有过几场令人难忘的演出。“我们发现柏林是一个真正的艺术家社区,”凯夫对我说,“有拍电影的、音乐家、画家……那里有一种我们在伦敦找不到的包容性。”In Berlin, Cave became a regular at a Kreuzberg bar called Risiko, whose sometime bartender, Blixa Bargeld, fronted the industrial-music pioneers Einstürzende Neubauten (Collapsing New Buildings), whose militant anti-commercialism Cave admired. Bargeld contributed his radical sensibility to the final Birthday Party recording sessions (“He’s always approached the guitar with reticence and loathing,” Cave told me appreciatively) and stuck with Cave in the wake of the band’s dissolution, as did Mick Harvey.在柏林,凯夫经常去克罗伊茨贝格的一家名叫利希科的酒吧,那里的兼职酒保布里克萨·巴格尔德是工业音乐先驱“倒塌的新建筑”(Einstürzende Neubauten)乐队的主唱,凯夫敬佩他激进的反商业精神。巴格尔德把自己激进的情绪带入了“生日快乐”的最后几次录音之中(“他弹吉总是带着含蓄和厌恶,”凯夫带着赞赏的口吻说),也让凯夫和米克·哈维产生了解散乐队的念头。In September 1983, Cave traveled to Garden Studios in London to record for the first time under his own name. The album that resulted, “From Her to Eternity,” was even less classifiable than the music Cave made with the Birthday Party or the Boys Next Door: an echoing, loose-limbed collection of seven ominous, stomping, meandering dirges that managed to transmit all of punk’s anger and abhorrence while avoiding most of the clichés of an aly stultifying genre. The album established Cave and the Bad Seeds, as his crew of collaborators was now called, virtually overnight. The New Musical Express, probably Britain’s most influential music magazine, began its review with: “Nick Cave’s ‘From Her to Eternity’ is one of the greatest rock albums ever made.”1983年9月,凯夫去伦敦的花园录音室录制第一张以他个人名义发行的专辑。最后的成果名为《从她到永恒》(From Her to Eternity),它比凯夫与“生日派对”和“邻家男孩”一起做的音乐更加难以分类:是一张充满回响,结构松弛的专辑,收入七首充满不祥预兆、沉重婉转的哀歌,朋克当时已经变得沉闷乏味,这张专辑却在传达出朋克的愤怒与厌恶的同时,又避免了其中的大部分陈词滥调。凯夫的合作者们如今自称为“坏种子”,这张专辑几乎令他们一夜成名。《新音乐快报》(New Musical Express)或许是英国最有影响力的音乐杂志,它给这张专辑的是这样开头的:“尼克·凯夫的《从她到永恒》是迄今为止最伟大的摇滚专辑之一。”Cave now lives in Brighton, England, with his wife and twin 14-year-old sons, in a residence that would have seemed, for a number of reasons, inconceivable to the scarecrow-haired punk he was back in Berlin. When I met him this winter, he was renting a modest office a short walk from his house, keeping regular office hours like a bona fide salaryman. (“I used to go six days a week, till I couldn’t stand it anymore,” Cave said with a grin. “Now I go Sundays as well.”)凯夫如今和妻子以及14岁的双胞胎儿子住在英国的布莱顿,他的住宅看上去怎么都不像是柏林的那个乱发朋克住的。今年冬天我见到他的时候,他在家附近租了一个朴素的办公室,像真正的工薪族那样去固定办公(“我曾经每周上班六天,后来受不了,”凯夫笑着说,“现在我连星期日都去上班。”)。Apart from a small upright piano off to one side, a microphone stand and a haphazard-looking collection of photos and pages torn from magazines pinned to the wall, the room itself could have passed for the office of a determinedly anachronistic clerk: a good-size desk, a manual typewriter and a well-used bottle of whiteout. His work ethic has long been legendary. While writing one of his best-known songs, “Red Right Hand,” from the 1994 album “Let Love In,” Cave filled an entire notebook with descriptions of the imaginary town the song was set in, including maps and sketches of prominent buildings, virtually none of which made it into the lyrics. “It’s good to have a place to go and just write,” Cave told me in Brighton. “I haven’t always had that luxury.”办公室一侧放着一架小小的直立钢琴,一个麦克风架,墙上用大头针随意订着一些照片,以及从杂志上撕下来的页面,除此之外,这个房间可能被误认为是一个搞错了时代的职员的办公室——一个大大的办公桌、手动打字机和一瓶看来是时常使用的涂改液。凯夫的敬业精神早已成为传奇。在写他最著名的一首歌,收录于1994年的专辑《让爱进来》(Let Love In)中的《红色右手》(Red Right Hand)时,凯夫用了一整个笔记本描写这首歌中想象的小镇,还画了地图和镇上著名建筑的草图,最后这些东西都没有出现在歌词中。“能有个地方可去,在那儿写作,这感觉很好,”凯夫在布莱顿对我说。“我并不是总能有这样的奢侈。”It was in Berlin that Cave undertook the first of the extramusical forays that would eventually come to define him as the renaissance man of the “postpunk” generation: a grotesque, blood-spattered, Faulkner-saturated novel titled “And the Ass Saw the Angel.” Set in the imaginary valley of Ukulore in some fever-dream iteration of the American South, the novel chronicles the nightmarish sufferings and stomach-churning appetites of Euchrid Eucrow, an inbred and mentally ill mute, whose fixation on the local prostitute, Cosey Mo, and Beth, her saintly, otherworldly daughter, does not, to put it mildly, turn out well. The novel obsessed Cave completely, often at the expense of more lucrative work, and took him three years of almost daily effort to finish.在柏林,凯夫初次开始了音乐之外的冒险,最终令他成为“后朋克”一代中的文艺复兴式全才:一本怪异、血腥的,带有福克纳色的小说,题为《而蠢人看见天使》(And the Ass Saw the Angel)。故事发生在一个想象中的山谷尤库洛尔,以美国南方式的狂热梦呓,按时间顺序记载了近亲结婚生下的精神病哑巴尤奇里德·尤克鲁(Euchrid Eucrow)噩梦般的痛苦与令人恶心的嗜好,他对本地柯西·莫(Cosey Mo)与她圣洁超脱的女儿贝丝(Beth)的迷恋,婉转点说吧,结果不怎么好。这本小说让凯夫彻底沉迷其中,经常放弃更加有利可图的工作,花了三年时间,几乎每天都在写作,最后才告完成。“It definitely had something to do with my father, that book,” Cave told me in Berlin. “He was an aspiring writer himself as a young man, and literature was a matter of life or death to him. My mother recently showed me a letter he wrote her, about this theater piece he was directing, and it’s written with such intensity — his frustrations with the actors and with the budget and so on. There’s this mania and enthusiasm for the work that’s very beautiful to me. Then, at the end, you find out he’s talking about a school play. So, yeah, the book may have felt on some level like unfinished business. But it took over my life in a way that wasn’t healthy, for me or the people around me. And as soon as I’d finished it, I left Berlin.”“这本书绝对和我父亲有关,”凯夫在柏林告诉我,“他年轻时是个很有抱负的作家,文学对他来说是生死攸关的大事。我的母亲最近给我看了一封他给她写的信,内容是他当时在导演的舞台剧,这封信感情非常强烈,写了关于演员和预算之类东西带来的挫折感。我觉得这种对工作的狂热与非常美。到最后,你才发现他说的是一出学校话剧。是的,这本书在某种程度上像是个未完成的东西。但它占据了我的生活,在某种程度上,对于我和我周围的人是不健康的。一写完它我就离开了柏林。”Cave spent the next three years in S#227;o Paulo, Brazil, where he moved after meeting the fashion stylist Viviane Carneiro. Shortly after the birth of their son, Luke, Cave returned to London with his family and began to work on a new album, comprising songs about violent death. The album — titled, appropriately enough, “Murder Ballads” — would prove a pivotal one in Cave’s career, furnishing him with his first mainstream radio hit (“Where the Wild Roses Grow,” featuring Kylie Minogue), and propelling him, by way of a duet with the British alt-rock star P. J. Harvey, into a relationship with which he is associated to this day, not least because it resulted, in 1997, in what many regard as his masterpiece: “The Boatman’s Call.”后来凯夫遇到了时尚造型师薇薇安·卡耐罗(Viviane Carneiro),接下来的三年,两人在巴西的圣保罗度过。两人的儿子卢克出生后,凯夫带全家回到伦敦,开始创作新专辑,写一些关于暴力死亡的歌曲。专辑的名字名为《谋杀的歌谣》(Murder Ballads),真是恰如其分。它成了凯夫的关键作品之一,其中与凯莉·米洛合唱的《野玫瑰在哪里生长》(Where the Wild Roses Grow)成了他第一首打入主流电台的金曲。这张专辑中,他也和英国另类摇滚歌星P·J·哈维(P. J. Harvey)唱了二重唱,两人有了一段恋情,他至今还会提起,特别是因为这段关系导致了他在1997年做出了专辑《船夫的呼唤》(The Boatman’s Call),很多人都认为这是他的代表作。“People often compare ‘Boatman’s Call’ with ‘Blood on the Tracks,’ ” Cave told me during one of our conversations in Brighton, referring to Bob Dylan’s breakup-themed magnum opus. “Too much for my liking, I have to say. I’ve got no idea what led Dylan to make that album, but in my case, there was a coming together of a particular bunch of unfortunate events — brokenhearted moments but epiphanies, as well — that hit me all at once and became what the record was about.” He smiled. “Not a happy time, particularly. At least I got some songs out of it.”“人们经常把《船夫的呼唤》和《歌中的血迹》(Blood on the Tracks)相提并论,”我们在布莱顿谈话时,凯夫说起鲍勃·迪伦(Bob Dylan)那张以分手为主题的代表作。“我得说,这对我来说太过了。我不知道迪伦是怎么写下那张专辑的,但是对于我来说,当时有很多不幸的事赶在一起——既有痛苦的时刻,也有顿悟的时刻——这些感觉一下子同时击中我,就成了这张专辑,”他微笑着说。“那不是一段特别快乐的时光。至少我为它写了些歌。”The 12 tracks on “The Boatman’s Call” chronicle both the dissolution of Cave’s relationship with Carneiro and the arc of his brief but passionate love affair with Harvey, which played out very much in public: The couple’s first kiss took place on camera, during the filming of their “Murder Ballads” duet, “Henry Lee.” The album’s spare, candid songs allowed a listener, perhaps for the first time, to guess at the human being behind Cave’s outsize persona and freed him from the restrictions of the “Old Testament by way of Southern gothic” genre that he, with a good deal of help from Mick Harvey, Bargeld and the rest of the Bad Seeds, had invented.《船夫的呼唤》中的12首歌既有凯夫与卡耐罗的分手,也有他和哈维那段短暂但充满的情事,这段关系相当公开——两人第一次接吻就发生在镜头前,为《谋杀的歌谣》中的二重唱《亨利·李》(Henry Lee)录像的时候。或许《船夫的呼唤》中简单、坦白的歌曲令听众第一次去猜测凯夫那特大号的自我背后的人性,让他从那种“《旧约》式的美国南方哥特”类型中摆脱出来,那种形象是他和米克·哈维、巴格尔德以及“坏种子”的其他成员们共同营造出来的。Since that high-water mark, Cave has released seven studio albums, appeared in three films, written two produced screenplays and published a second novel, “The Death of Bunny Munro”; but possibly the two most pivotal events in that time stand apart from his creative life. Shortly after the release of “The Boatman’s Call,” Cave met the British model Susie Bick, to whom he has now been married for a decade and a half, and he soon kicked heroin for good after more than 20 years of addiction. As Cave himself puts it, in a recording featured near the end of “20,000 Days”: “The first time I saw Susie was at the Victoria and Albert Museum in London. And when she came walking in, all the things that I have obsessed over for all the years, pictures of movie stars, Jenny Agutter in the billabong, Anita Ekberg in the fountain . . . Miss World competitions, Marilyn Monroe and Jennifer Jones and Bo Derek . . . Bolshoi ballerinas and Russian gymnasts . . . the young girls at the Wangaratta pool lying on the hot concrete, all the stuff I had heard and seen and . . . all the continuing never-ending drip-feed of erotic data . . . came together at that moment, in one great big crash bang, and I was lost to her. And that was that.”在这次高峰之后,凯夫又发行了七张录音室专辑,在三部电影中露面,写了两个已被搬上银幕的电影剧本,出版了第二部小说《巴尼·芒罗之死》(The Death of Bunny Munro);但或许那段时间里他生活中最重要的两件事不是关于创作。《船夫的呼唤》发行不久之后,凯夫遇到了英国模特苏西·比克(Susie Bick),两人结婚至今已有15年;之后他很快戒掉了成瘾已有20年之久的海洛因。正如凯夫自己在《地球两万日》快到片尾的地方中说的,“我第一次见到苏西是在伦敦的维多利亚与阿尔伯特物馆。她一走进来,我多年来迷恋的那些东西,电影明星的照片,珍妮·艾加特(Jenny Agutter)在死水里、安妮塔·艾克伯格(Anita Ekberg)在喷泉边……世界竞赛,玛丽莲·梦露(Marilyn Monroe),詹妮弗·琼斯(Jennifer Jones)和波·德里克(Bo Derek)……莫斯科大剧院的芭蕾舞女演员和俄罗斯体操运动员……旺加拉塔泳池边躺在炎热的水泥地上的姑娘们,我听过、看过与阅读过的一切……所有这些色情的点点滴滴……全都在这一刻汇聚起来,成了巨大的冲击,我迷上了她。就是这样。”Cave’s life in Brighton is that of a conventional family man, with certain noteworthy exceptions. On a recent afternoon, we were having lunch in a pub called the Ginger Dog with Warren Ellis — the Bad Seeds’ wild-bearded multi-instrumentalist and Cave’s closest collaborator for more than a decade — when a tweedy-looking man in his 60s approached us. “Excuse me, but are you Nick Cave?” he asked bashfully. “I’ve just moved to Brighton, you see, and I do bronze heads.”凯夫在布莱顿过着传统居家男人的生活,当然也有值得一提的例外。不久前的一个下午,当我们在一家名叫黄的酒吧和沃伦·埃里斯(Warren Ellis)共进午餐,埃里斯是“坏种子”的多乐器演奏者,留着狂野的大胡子,是凯夫十几年来最亲密的合作者。这时一个60多岁、乡绅模样的男人走近我们:“对不起,请问你是尼克·凯夫吗?”他羞怯地问道,“我刚搬来布莱顿,我是做青铜头像的。”“Heads?” Cave said matter of factly, as though this sort of thing happened on a regular basis. “I’ve been looking to get a life-size portrait done, on horseback. You couldn’t do that?”“头像?”凯夫见怪不怪地说,好像这种事经常发生。“我一直都在找一尊真人大小的雕像,骑在马背上的。你有吗?”The man stammered a bit, but eventually responded in the positive.男人迟疑了一下,但最后还是给了肯定的答复。“In gold, wasn’t it?” Ellis added.“金的吗?”埃里斯说。“That’s right,” Cave said, taking the man’s card politely. “A mounted equestrian portrait, in gold. Would that be in your line?”“对,”凯夫礼貌地收下了男人的名片,“一尊骑在马上的塑像,金的,你有吗?”After assuring the artist, who looked pleased, but bewildered, that he would visit his website, Cave took up the conversation where we left off. I had asked why he thought his music, which can be as graphic as the most brutal death metal or gangsta rap, has always found, in marked contrast to, say, death metal, such a wide and passionate following among women.凯夫向那个看上去既高兴又迷惑的艺术家保自己会去看他的网站,之后接着进行我们被打断的谈话。之前我问他对自己的音乐怎么看,他的音乐和最残酷的死亡金属与匪帮说唱一样有画面感,但却和死亡金属之类音乐不同,在女人当中拥有大量热情的拥趸。“I have a female audience in my mind when I write,” he said. “That being said” — he smiled wryly at Ellis — “I’m often flabbergasted by what some women find sexy in my music.”“在写歌时,我心里会想象一个女性听众,”他说,“虽说如此”——他对埃里斯苦笑——“有些女人说我的音乐性感,还是让我挺惊讶的。”“In a lot of what Nick writes, there’s a woman’s voice in there,” Ellis said. “Nick’s a writer, you know? He takes things like voice and point of view seriously.”“尼克写的很多东西里都有女性的声音,”埃里斯说。“尼克是个作家,你知道。他很严肃地对待声音和观点。”“Not all women like it,” Cave added. “I’ve been called all sorts of things. But even the material that’s the most. . . . ” He cast about for the word. “The most forceful sexually, it’s always riddled with anxiety. If my songs came off as just a male thing, I wouldn’t have any interest in that whatsoever.”“不是所有女人都喜欢,”凯夫补充。“人们用各种东西形容我。但就连最……”他谨慎挑选着词句。“就连在性方面最有力量的东西也总是掺杂着焦虑。如果我的歌让人感觉只是男性化的东西,那我也不会对它感兴趣的。”Cave and Ellis had been up until the wee hours in a nearby studio, trying out ideas for the Bad Seeds’ next album, and the talk turned to a new songwriting method that the band developed over the course of their most recent recordings, a topic that made them both seem, in that instant, like two boys who had just started their first band.之前凯夫和埃里斯在附近的录音室里一直呆到凌晨,为“坏种子”的下一张专辑想点子,我们的对话转到了乐队在最近的录音中新发展出来的写歌方式,这个话题让两人在那一刻变得好像两个刚开始组乐队的孩子。“What we do is we record nonstop,” said Cave, with a sudden animation that surprised me. “We go in in the morning, and we just sit there for seven or eight hours with headphones on and just play anything, no matter how awful. The songs are completely abstract when we start; no one even knows what key we’re in — ”“我们就是不停地录音,”凯夫突然活跃起来,把我吓了一跳。“我们早上一进棚就坐下来,七八个小时戴着耳机,什么都弹,不管有多糟糕。刚开始歌曲都是完全抽象的,甚至没人知道我们在弹什么调——”“Well, I know,” Ellis said amiably.“啊,我知道,”埃里斯开心地说。“ — and there’s something going on between the musicians, about discovering something, that can be impossible to repeat. It couldn’t be more different from the way I wrote for some of my earlier albums, like ‘The Boatman’s Call’ or ‘No More Shall We Part.’ It’s more the way we did it back at the beginning, making the first Bad Seeds record with Blixa and Barry” — Adamson, bassist for the group — “and Mick.”“——然后就有些东西在乐手们之间发生了,我们发现了什么,这是无法重复的。这和我之前做《船夫的呼唤》和《我们不再分离》(No More Shall We Part)的时候太不一样了。更像我们当初一开始时候的样子,和布里克萨还有巴里一起做‘坏种子’第一张专辑时的样子”——巴里是指巴里·亚当森(Barry Adamson),乐队的贝斯手——“还有米克。”“ ‘Push the Sky Away’ feels like a first record, in a way,” Ellis said. “It felt that way to make it.”“某种程度上,《推开天空》有点像第一张专辑,”埃里斯说。“方法有点像。”“Now comes the ded follow-up,” Cave added, not looking as though he was ding it at all.“现在是让人担心的续作,”凯夫补充,不过他看上去可一点不担心。Exactly 24 hours after our lunch at the Ginger Dog, Cave was reclining in a swivel chair in the gleaming, walnut-paneled control room of AIR Studios in the discreetly upscale Hampstead neighborhood, listening to the ever-voluble Ellis joking and cajoling an 18-piece orchestra into playing the score the two of them wrote for the film “Loin des Hommes” (a French production starring Viggo Mortensen) with just an iota more bite. “I love what the celli are doing!” Ellis said at one point, which caused Cave to arch an eyebrow. “Is that how you say it?” he murmured. “I’d always thought it was cellos.” This was practically all he said for the next hour.在“黄”吃过午饭的整整24小时之后,凯夫来到AIR录音室,它坐落在汉普斯蒂德隐蔽的高尚住宅区。凯夫坐在一把转椅上,听着总是喋喋不休的埃里斯开玩笑,哄劝一个18人组成的管弦乐队演几段他和凯夫为电影《远离人迹》(Loin des Hommes)写的配乐,这是一部法国电影,由维果·莫腾森(Viggo Mortensen)主演。“我喜欢这段大提琴(celli)!”埃里斯说,凯夫听了扬起眉毛。“你们是这么说的吗?”他小声说,“我还以为应该叫‘cellos’呢。”接下来的一个小时里他都没有开口。Over and over, on two large flat-screen monitors suspended from the mixing-room ceiling, Mortensen and his co-star, the French-Algerian actor Reda Kateb, walked to the crest of a hill, exchanged a few words, then made their way down a winding stone path, to the fervent accompaniment of the musicians on the far side of the glass. While Ellis talked a blue streak, Cave maintained his remove. He’d brought a heavily annotated paperback with him: a copy of a novel he was considering adapting into a screenplay for Forsyth and Pollard. Beside it on the table, in no discernible order, lay an oversize copy of the score (“Loin des Hommes, by Nick Cave and Warren Ellis”), a CD of “The Boatman’s Call” and a page of mysterious notes that I allowed myself to sneak a glance at. They were attenuated and cryptic and either had to do with the film adaptation, ideas for the next album, a screenplay he was currently script-doctoring or an exegesis of Dante’s “Inferno.” Based on what I knew of Cave, it might easily have been all of the above.两个平板监控器从混音室的天花板垂挂下来,里面一遍又一遍地播放着莫腾森和阿尔及利亚裔法国演员希达·卡特(Reda Kateb)的镜头,他们走上山顶,说了几句话,然后又走上一条蜿蜒的石头路,玻璃另一侧的乐手们热情地为他们伴奏。埃里斯继续滔滔不绝,凯夫也仍然一言不发。他带了一本厚厚的平装书,里面写满批注。他想为弗希斯和波兰德把这本小说改编成剧本。此刻它就放在桌上,旁边随意放着其他物品:一份特大号的乐谱,上面写着“《远离人际》,尼克·凯夫与沃伦·埃里斯”、《船夫的呼唤》的CD唱片,还有一页纸,我偷看了一眼,只见上面写着神秘的句子。字体细小,如同密码,可能和电影改编、下一张专辑的创意、帮别人修改的剧本或者但丁《神曲》的注释有关。根据我对凯夫的了解,说不定以上这些都有。As “20,000 Days On Earth” nears its end, Cave slouches happily on the couch in front of the TV, his sons on either side of him, watching a movie. The viewer can’t see what the Cave clan is watching —— judging by the dialogue, it could be Brian De Palma’s “Scarface,” but it isn’t hard to imagine Cave screening “The Proposition” or “Lawless” for his boys. (“We used to have something called inappropriate-film night,” Cave told me earlier. “I’d sit my boys down and show them something no sane father would ever show his young sons — ‘Dawn of the Dead,’ something that scared the hell out of them — and it was a wonderful bonding moment. Now there’s no other kind of film night at all.”) It’s an oddly affecting scene, and watching it, I couldn’t help thinking back to something Cave said at our first meeting, describing his emotions when his own father to him from “Lolita”: “I was 12 years old at the time, so I didn’t understand half of what I was hearing. ‘Fire of my loins’? What on earth did that mean? And some of it made me very uneasy. But more than anything else, the words he was ing excited me. I knew nothing would ever be the same.”在《地球两万日》即将结束时,凯夫兴高采烈却又懒洋洋地坐在电视机前的沙发里上,儿子们坐在他身边,一起看电影。镜头中看不出凯夫一家在看什么,听对白可能是布莱恩·德·帕尔马(Brian De Palma)的《疤面煞星》(Scarface),不过不难想象凯夫给儿子们放《关键协议》或《无法无天》时的情景(“我们有‘不适合儿童电影之夜’这样的活动”,早些时候凯夫告诉我,“我让儿子们坐下,给他们看些明智的父亲们绝不会给小儿子们看的电影,比如《活死人黎明》[Dawn of the Dead]之类的,把他们吓得半死,这可真是美妙的亲密时刻。现在我们晚上根本不放别的电影了”)这是异常动人的一幕,看着它,我忍不住回想凯夫在我们第一次见面时描述父亲给他读《洛丽塔》时的心情:“我那时12岁,有一半东西我根本听不懂。‘我的欲念之火?’这到底是什么意思?有些东西让我觉得很不安。但是不管怎样,他读的东西让我兴奋。我知道一切都将有所不同。” /201407/312765渭南男性医院哪家好不乱收费

渭南包皮科An Iranian mathematician is the first woman ever to receive a Fields Medal, often considered to be mathematics#39; equivalent of the Nobel Prize.一名伊朗数学家成了首位荣获菲尔茨奖(Fields Medal)的女性;该奖项被认为是数学界的诺贝尔奖(Nobel Prize)。The recipient, Maryam Mirzakhani, a professor at Stanford, was one of four scheduled to be honored on Wednesday at the International Congress of Mathematicians in Seoul, South Korea.这位获奖者是斯坦福大学(Stanford)教授玛丽亚姆·米尔札哈尼(Maryam Mirzakhani),本周三在韩国首尔举行的国际数学家大会(International Congress of Mathematicians)会为她和另外三位数学家颁奖。The Fields Medal is given every four years, and several can be awarded at once. The other recipients this year are Artur Avila of the National Institute of Pure and Applied Mathematics in Brazil and the National Center for Scientific Research in France; Manjul Bhargava of Princeton University; and Martin Hairer of the University of Warwick in England.菲尔兹奖每四年颁发一次,每次可以同时授予数人。今年的另外三位获奖者是巴西国立纯数学和应用数学研究所(National Institute of Pure and Applied Mathematics)和法国国家科学院(National Center for Scientific Research)的阿图尔·阿维拉(Artur Avila)、普林斯顿大学(Princeton University)的曼朱·巴尔加瓦(Manjul Bhargava),以及英国华威大学(University of Warwick)的马丁·海瑞尔(Martin Hairer)。The 52 medalists from previous years were all men.以前的52名菲尔兹奖得主都是男性。;This is a great honor. I will be happy if it encourages young female scientists and mathematicians,; Dr. Mirzakhani was ed as saying in a Stanford news release on Tuesday. ;I am sure there will be many more women winning this kind of award in coming years.;“这是极大的殊荣。如果这对年轻的女性科学家和数学家有所鼓励,我会感到荣幸,”米尔札哈尼士在本周二斯坦福大学的一份新闻稿里说。“我相信未来会有更多女性获得这类奖项。”Ingrid Daubechies, a professor of mathematics at Duke and president of the International Mathematical Union, called the news ;a great joy; in an email.杜克大学(Duke)数学教授英格丽·多贝西(Ingrid Daubechies)是国际数学联盟(International Mathematical Union)主席,她在电子邮件中称这个消息是“一大喜讯”。;All researchers in mathematics will tell you that there is no difference between the math done by a woman or a man, and of course the decision of the Fields Medal committee is based only on the results of each candidate,; she wrote. ;That said, I bet the vast majority of the mathematicians in the world will be happy that it will no longer be possible to say that ‘the Fields Medal has always been awarded only to men.#39; ;“数学界的所有研究人员都会告诉你,女性和男性所做的数学研究没有差别,而且菲尔兹奖委员会当然只会根据每个候选人的成就来甄选获奖者,”她写道。“话虽如此,我敢打赌,世界上的绝大多数数学家都会感到高兴,因为以后不可能再有人说‘菲尔兹奖一向只授予男性#39;了。”Much of the research by Dr. Mirzakhani, who was born in Tehran in 1977, has involved the behavior of dynamical systems. There are no exact mathematical solutions for many dynamical systems, even simple ones.米尔札哈尼士1977年出生于德黑兰,她的许多研究都涉及到动力系统的行为。很多动力系统都没有精确的数学解决方案,就连一些很简单的系统也是如此。;What Maryam discovered is that in another regime, the dynamical orbits are tightly constrained to follow algebraic laws,; said Curtis T. McMullen, a professor at Harvard who was Dr. Mirzakhani#39;s doctoral adviser. ;These dynamical systems describe surfaces with many handles, like pretzels, whose shape is evolving over time by twisting and stretching in a precise way. They are related to billiards on tables that are not rectangular but still polygonal, like the regular octagon.;“玛丽亚姆的发现是:在另一个层面,动力学轨道严格遵循代数法则,”哈佛大学(Harvard)教授柯蒂斯·T·麦克马伦(Curtis T. McMullen),他是米尔札哈尼读时的导师。“这些动力系统通过很多元素来描述表面,就像麻花一样,其形状通过扭曲和拉伸,以一种精确的方式随着时间推移而不断变化。它们有些像桌子上的撞球,桌子不是长方形的,但仍然是多边形,比如说正八边形。“Dr. Avila, 35, investigated a different area of dynamical systems, including an understanding of fractals. Dr. Bhargava, 40, was recognized for new methods in the geometry of numbers, especially prime numbers, and Dr. Hairer, 38, made advances in the study of the effect of random noise on partial differential equations, capturing the effect of turbulence on ocean currents or the flow of air around airplane wings.35岁的阿维拉士研究的是动力系统的另一个领域,包括对分形的一种理解。40岁的巴尔加瓦士在几何数论、尤其是质数上找到了一些新方法,而38岁的海瑞尔士在研究随机噪声对偏微分方程的影响时取得了进展,捕捉到了湍流对洋流或飞机机翼周围空气流动的影响。While women have reached parity in many academic fields, mathematics is still dominated by men, who earn about 70 percent of the doctoral degrees. The disparity is even more striking at the highest echelons. Since 2003, the Norwegian Academy of Science and Letters has awarded the Abel Prize, recognizing outstanding mathematicians with a monetary award of about million; all 14 recipients so far are men. No woman has won the Wolf Prize in Mathematics, another prestigious award.虽然女性已经在很多学科领域赶上了男性,但数学界仍然以男性为主,70%的数学士都是男性。在最顶尖的层次,这种差距更是惊人。挪威科学与文学院自2003年开始颁发阿贝尔奖(Abel Prize),用100万美元(约合人民币600万元)表彰优秀的数学家,到目前为止,该奖项的14个得主全都是男性。另一个著名的奖项沃尔夫数学奖(Wolf Prize in Mathematics),至今也没有女性得主。The Fields Medal was conceived by John Charles Fields, a Canadian mathematician, ;in recognition of work aly done; and as ;an encouragement for further achievement.; Judges have interpreted the terms of the Fields trust to mean that the award should usually be limited to mathematicians age 40 or younger.菲尔兹奖是由加拿大数学家约翰·查尔斯·菲尔兹(John Charles Fields)设立的,“用以表彰已经完成的工作”,并“鼓励得主获取进一步的成就”。根据评委对菲尔兹信托条款的解释,该奖项通常只应该颁发给年龄在40岁或以下的数学家。Dr. McMullen, himself a Fields medalist, did not speculate on why it had taken so long for a woman to be recognized. ;I would prefer to look forward and celebrate this occasion,; he said, ;and see it as a sign of positive trends in society and in science.;麦克马伦士自己也是菲尔兹奖得主,对于为什么迟至今日才有女性获奖这个问题,他没有加以揣测,而是说:“我更愿意向前看,更愿意庆贺这件事,把它看成是社会以及科学界中的一个积极趋势。” /201409/330087渭南欧亚医院男科 A 28.8 million Hong Kong dollar (US.7 million) Chinese ink painting sold at a Hong Kong auction is missing and may have been taken out with the trash.在香港一个拍卖会上以2,880万港元(合370万美元)高价拍出的一幅中国水墨画不翼而飞,可能和垃圾一同被收走了。The painting #39;Snowy Mountain#39; by contemporary artist Cui Ruzhuo was sold at a Poly Auction event Monday at the Grand Hyatt Hong Kong. But the auction house reported the painting missing to police on Tuesday, according to local media reports.这幅画作是当代艺术家崔如琢创作的《山色苍茫酿雪天》(Snowy Mountain),周一在香港君悦酒店(Grand Hyatt Hong Kong)举行的保利(Poly)拍卖会上拍出。但据当地媒体报道,该拍卖行周二报警称这幅画作丢失。A hotel spokesperson said it allowed police officers to view footage from its security cameras that monitored the auction area.君悦酒店一位发言人表示,酒店已经让警方查看了拍卖区域的监控录像。Local media said police officers saw footage of a packaged painting sitting near a pile of trash that was later thrown away. (Hong Kong#39;s Apple Daily news site has an animated version of what it believes happened.) Police were reportedly searching a landfill in Hong Kong#39;s northern district of Tuen Mun for the missing painting Wednesday morning.当地媒体称,警方在一段录像上看到包装好的画作被放在一堆垃圾附近,后来清洁工清理掉了这堆垃圾(香港《苹果日报》网站制作的模拟动画还原了当时的可能场景)。据报道,警方周三上午在位于香港北部屯门的垃圾堆填区寻找遗失画作。Poly didn#39;t respond to requests for comment. In a Wednesday statement, police said the painting is now considered #39;lost property#39; and is no longer being treated as a theft.保利没有回应置评请求。警方周三发表声明称,目前认为画作“遗失”,不再作为盗窃案处理。#39;Snowy Mountain#39; was the second-priciest item sold Monday at a special event that featured 28 of Mr. Cui#39;s ink works. His #39;Landscape in Snow#39; sold for HK4 million - a record auction price for the artist.崔如琢的28幅水墨画作品参加了此次特别拍卖活动,其中《山色苍茫酿雪天》成交价排在第二位。他的另一幅作品《丹枫白雪》(Landscape in Snow)手卷以1.84亿港元的高价成交,刷新他本人作品成交价纪录。Poly is the largest auction house in mainland China and the world#39;s third-largest, after international powerhouses Christie#39;s and Sotheby#39;s. Poly, part of the Poly Culture Group3636.HK -2.44%, is based in Beijing and began holding Hong Kong sales in 2012.保利是中国大陆最大的拍卖行,也是全球第三大拍卖行,仅次于佳士得(Christie#39;s)和苏富比(Sotheby#39;s)这两大国际拍卖行。保利文化集团股份有限公司(Poly Culture Group Co., 3636.HK, 简称:保利文化)旗下的保利国际拍卖有限公司总部位于北京,2012年开始启动香港拍卖业务。Over the past week, Poly, Sotheby#39;s and China Guardian (China#39;s second-largest auction firm), held multi-day sale events spanning several categories including traditional Chinese paintings, contemporary Asian art, Chinese antiques, jewelry and wine. Poly said it sold about 2,000 collectibles worth HK.1 billion during its own two-day event at the hotel.过去一周,保利、苏富比和中国嘉德(中国第二大拍卖行)举办了数日的拍卖活动,涉及到中国传统绘画、当代亚洲艺术、中国古董、珠宝和酒类几个门类。保利称,在香港君悦酒店举行的为期两天的拍卖活动中,共出售大约2,000件、总价值11亿港元的收藏品。 /201404/286403渭南市欧亚医院看男科好吗

渭南妇幼保健医院尿科Suddenly, as you may have noticed, millennials are everywhere. Not that this group of people born after 1980 and before 2000 — a giant cohort now estimated to number at least 80 million Americans, more than the baby boom generation — was ever invisible. What#39;s changed is their status. Coddled and helicoptered, catered to by 24-hour TV cable networks, fussed over by marketers and college recruiters, dissected by psychologists, demographers and trend-spotters, the millennial generation has come fully into its own. The word ;millennial,; whether as noun or adjective, has monopolized the nonstop cultural conversation, invariably freighted with zeitgeisty import.你可能已经注意到了,突然之间到处都是千禧一代,也就是出生在1980年之后、2000年之前的人。在美国,这个庞大的群体估计至少有8000万人,比婴儿潮时代的人还多。你之前并不是没有注意到他们,只是他们的地位发生了变化。他们被娇惯,享受24小时有线电视网,被市场营销人员和大学招生人员过分关心,被心理学家、人口学家和时尚达人剖析,如今他们终于形成了气候。“千禧”这个词不管是用作名词还是形容词,已经垄断了无休无止的文化交流,总是盛载着时代思潮。This newspaper is no exception. A recent search of The New York Times database turned up no fewer than 122 mentions of ;millennial; so far in 2014, on topics ranging from TV and pop music to travel and literature.《纽约时报》也不例外。最近在本报的数据库里进行搜索,发现2014年到目前为止“千禧”一词至少被提到122次,主题涉及电视、流行音乐、旅行和文学。A random sampling:我随便选了几段:1. ;Fusion was created in October as both a cable network and a digital network aimed at a younger, so-called millennial audience and is committed to telling and delivering the news in ways that a young audience expects.;1. “10月份创立的Fusion是针对更年轻的千禧一代的有线电视网和数字网络,致力于用年轻观众期待的方式讲述和传递新闻。”2. ;Lana Del Rey, the pouty, retro torch singer for the millennial generation. ...;2. 复古伤感歌手“拉娜·德雷(Lana Del Rey)有着撅起的嘴唇,深受千禧一代喜爱……”3. ;On the heels of hotels like Yotel and Aloft, a crop of new brands is designed for millennial travelers.3.“继Yotel和Aloft等旅馆之后,出现了一大堆为千禧一代旅行者设计的新品牌……”4. ;Elyria is disengaged and depleted in a manner that put me in mind of the characters in the novels of Tao Lin, that Zen summoner of millennial ennui.;4. “林韬堪称千禧年倦怠感的禅宗召唤者,伊利里亚(Elyria)的与世隔绝和精疲力竭让我想起了他小说中的人物。”Why this microscopic attention paid to a generation whose oldest members are only now entering the prime of their adult lives? One answer is that millennials, the first people to come of age in the 21st century, with its dizzying rate of technological change, have been forced to invent new ways of navigating it.千禧一代中年龄最大的现在也才刚步入成年的巅峰时期,可人们为什么对这一代人进行了如此细致的观察?其中一个原因是,他们是21世纪的第一批成年人,技术革新的飞速发展迫使他们想出新办法来驾驭它。But first, what besides youth sets millennials apart from their elders — the wizened silent generation, the graying boomers, the midlife Gen-X#39;ers?但是首先,除了年轻,还有什么能把千禧一代和老去的沉默一代、头发花白的婴儿潮一代和步入中年的X一代区分开来呢?The usual answer seems to be ;narcissism; — self-absorption indulged to comical extremes. We all can recite the evidence: the breathlessly updated Facebook profile, the cascade of selfies, the Kardashians.最常见的似乎是“自恋”——他们的自恋已经到了可笑的地步。我们都能举出很多例子:不停更新的Facebook,数不清的自拍照,以及卡戴珊。Millennials know this litany, too. ;People have been calling me a narcissist since I was 3,; says Hannah, the character Lena Dunham plays in ;Girls,; her comedy of millennial manners. It#39;s a small joke on Hannah but a bigger one on the anxious, hovering adults who supplied the clucking soundtrack when she was growing up.千禧一代也知道这些长篇大论。“从我三岁起,就有人说我自恋,”电视剧《都市女孩》(Girls)中莉娜·杜汉姆(Lena Dunham)扮演的汉娜(Hannah)说。杜汉姆创作的这部喜剧讲的是千禧一代的行为方式。对汉娜来说这是个小玩笑,但是对她成长过程中的那些焦虑彷徨,啧啧做声的成年人来说,这可不是小事。But a very different picture of millennials emerges from what may be the most illuminating literary project of our era, the Pew Research Center#39;s sequence of reports on millennials. The 2010 edition, subtitled ;Confident. Connected. Open to Change,; offered an X-ray of its first wave, the ;roughly 50 million millennials who currently span the ages of 18 to 29.;皮尤研究中心(Pew Research Center)关于千禧一代的系列报告可能是我们这个时代最具启发性的人文项目,它展示出一个非常不同的千禧一代形象。该报告2010年版的副标题是《自信,互联,乐于变革》(Confident. Connected. Open to Change),它剖析了第一批千禧一代,也就是“大约5000万18岁至29岁的千禧一代”。What Pew found was not an entitled generation but a complex and introspective one — with a far higher proportion of nonwhites than its predecessors as well as a greater number of people raised by a single parent. Its members also have weathered many large public traumas: the terrorist attacks of Sept. 11, costly (and unresolved) wars, the Great Recession. Add to those the flood of images of Iraq and Katrina (and, for older millennials, Oklahoma City and Columbine) — episodes lived and relived, played and replayed, on TV and computer screens.皮尤研究中心发现,这一代人并不是只懂享受,他们复杂而自省——和前辈们相比,非白种人的比例高了很多,而且有很多人是在单亲家庭长大的。这一代人还经历了很多重大公共创伤:911恐怖袭击,代价惨重(且悬而未决)的战争,经济大衰退。另外,伊拉克和卡特里娜飓风的图像在电视和电脑屏幕上播了一遍又一遍——对于年长的千禧一代来说,还有俄克拉荷马市飓风和科伦拜恩校园击案。For a generation digitally wired from childhood, and reared on apocalyptic s and computer-generated movie epics, not to mention the exploits of hackers, these events showed the real world to be as tightly networked, and for that reason as easily disrupted as the virtual one, even as the grown-ups in charge, the guardians of order, seemed overwhelmed and overmatched, always a step behind.这一代人从小就使用数码产品,观看灾难视频和充满电脑特效的电影大片,还遭受过黑客攻击,所以在他们看来,现实世界是密切相连的,因此也像虚拟世界一样易受攻击,而那些掌控大局的成年人和秩序维护者似乎不知所措,总是处于下风,晚了一步。It is no surprise, as Pew reported, that the millennial generation is skeptical of institutions — political and religious — and prefers to improvise solutions to the challenges of the moment. It is one thing to own a smartphone, as so many of us do. It is quite another to have mastered its uses at age 10.皮尤研究中心的报告指出,千禧一代对各种机构(政治机构和宗教组织)都持怀疑态度,更喜欢赶快想出解决当下问题的办法。这并不奇怪。有智能手机是一回事,我们中的很多人都有,但是从十岁就掌握它的各种用处是另一回事。Thus, in a range of areas, millennials have not only caught up, but have jumped out in front.所以,在许多领域里,千禧一代不只是赶上了我们,而且已经跳到了我们前面。Consider the approach many take to the workplace. Thanks to the 2008 economic crash, millennials know how fleeting wealth can be. Their solution? For many, it is to acquire not more, but less.想想他们中的很多人对待工作的态度吧。2008年的经济危机让千禧一代明白财富可能转瞬即逝。他们的解决办法是什么呢?对他们中的很多人来说,不是要去赚更多的钱,而是要少赚些钱。;Almost two-thirds (64 percent) of millennials said they would rather make ,000 a year at a job they love than 0,000 a year at a job they think is boring,; the Brookings Institution recently noted in a report by Morley Winograd and Michael Hais titled ;How Millennials Could Upend Wall Street and Corporate America.;布鲁金斯学院最近的一份报告指出,“将近三分之二(64%)的千禧一代说,他们宁愿做一份自己喜欢的、年薪四万美元的工作,也不去做他们觉得无聊的年薪十万美元的工作”。该报告的作者是莫利·威诺格拉德(Morley Winograd)和迈克尔·海斯(Michael Hais),标题是《千禧一代将如何颠覆华尔街和美国的所有公司》(How Millennials Could Upend Wall Street and Corporate America)。The generation that gave us Occupy Wall Street has embraced its own modes of entrepreneurship, found across the broad spectrum of ;creatives,; from stylists to techies, who reject the presumed security of the corporate job and riskily pursue their own ventures, even if it means working out of their parents#39; basement. At the same time, record numbers of new college graduates are applying for jobs in the Peace Corps, AmeriCorps or Teach for America.进行“占领华尔街”运动的千禧一代有自己的企业家精神,他们出现在各个“创意”领域,从造型师到计算机专业人员,他们拒绝一般人认为有保障的公司工作,冒险去追求自己的创业梦,即使要在父母的地下室里玩命工作也没关系。与此同时,应聘美国和平队(Peace Corps)、美国国民务队(AmeriCorps) 或“为美国教书”组织(Teach for America)的大学毕业生人数也创下了纪录。Consider millennial shopping habits. Even in the realm of fashion, many are indifferent to prestige brands and lavish ad campaigns, preferring to buy online or get ;disposable; clothing at H amp; M or Zara, which boasts that its organically farmed cottons are ;completely free of pesticides, chemicals and bleach.;再来看看千禧一代的消费习惯。甚至连时尚界的很多千禧一代也不在乎大牌和奢华的广告营销,他们更喜欢网购或者在Hamp;M或Zara购买“可以丢弃的”衣,这些衣号称用的是“完全不含杀虫剂、化学制剂和漂白剂”的有机棉花。The do-goodish pitch is aimed squarely at millennials, who collectively favor companies that embrace the values of good citizenship. The Brookings report says millennials overwhelmingly ;responded with increased trust (91 percent) and loyalty (89 percent), as well as a stronger likelihood to buy from those companies that supported solutions to specific social issues (89 percent).;这种行善的营销方式针对的正是千禧一代,这一代人喜欢那些信奉良好公民理念的公司。布鲁金斯学院的报告称,千禧一代中的绝大多数人“都对那些为具体社会问题提供解决方案的公司有着更高的信任(91%)和忠诚度(89%),而且更有可能购买它们的产品(89%)”。And consider food. The new generation may have had health-consciousness drilled into them at home or in school. But they have raised it to a new level. ;For millennials, food isn#39;t just food. It#39;s community,; The Washington Post reported last year in an article on the Silver Diner chain, which has developed an up-to-the-minute locavore and ;started actively catering to those on vegan, vegetarian and gluten-free diets.;再来看看饮食。千禧一代可能已经在家里或学校被灌输了健康理念。但他们把它提高到了一个新的层次。《华盛顿邮报》去年的一篇关于Silver Diner连锁餐馆的报道说,“对千禧一代来说,食物不只是食物,还是社群。”该连锁餐馆开发了一份最新的本土菜单,而且“开始积极迎合那些严格素食者、一般素食者和坚持无麸质饮食的人”。It was a shrewd calculation. An estimated 12 percent of millennials say they are ;faithful vegetarians,; compared with 4 percent of Gen X#39;ers and 1 percent of baby boomers, according to one study.这是个聪明的做法。一项研究表明,约有12%的千禧一代称自己是“忠实的素食者”,而只有 4%的X一代和1%的婴儿潮一代会这么说。Taken together, these habits and tastes look less like narcissism than communalism. And its highest value isn#39;t self-promotion, but its opposite, empathy — an open-minded and -hearted connection to others.总而言之,这些习惯和口味不太像自恋,而更像社群主义。它的最高价值观不是自我推销,而是它的对立面——同情心:和别人真心交往的开放心态。Exhibit A may be LeBron James, the N.B.A. superstar who in July announced that he would be going back to rust-belt Cleveland after four glamorous years in Miami, becoming, at age 29, one of America#39;s wealthiest boomerang children.第一个例子是NBA超级巨星勒布朗·詹姆斯(LeBron James)。他在迈阿密热火队度过辉煌的四年后,今年7月份宣布将回归没落的克利夫兰骑士队。29岁的他成为返回故乡的最富有的美国孩子之一。;Miami, for me, has been almost like college for other kids,; James explained in a statement on SI.com exuding millennial earnestness. ;My relationship with Northeast Ohio is bigger than basketball. I didn#39;t realize that four years ago. I do now.;“对我来说,迈阿密热火队有点像其他孩子眼里的大学,”詹姆斯在SI.com上发布的声明流露出千禧一代的诚恳,“我与俄亥俄州东北部的关系重于篮球。四年前我没意识到这一点,但现在我意识到了。”Four years ago, he meant, when he seemed the picture of self-importance, proclaiming on a live ESPN spectacle that he would ;take my talents to South Beach.;他指的是四年前有点自大的他在体育节目电视网(ESPN)的一次直播节目中宣称,他将“把我的才华带到南部海滩去”。But James didn#39;t develop his new vocabulary of civic obligation and social responsibility overnight. On the contrary, he was a model teammate in Miami, insistently deflecting praise to others. He also helped lead the campaign to hold the former Los Angeles Clippers owner Donald Sterling accountable for racially charged blurtings when they became public last spring.但詹姆斯没有在一夜之间想出公民义务和社会责任之类的新词。相反,在热火队他是个模范队友,总是把赞扬转给别人。去年春天,前洛杉矶快船队老板唐纳德·斯特林(Donald Sterling)的种族歧视言论曝光后,詹姆斯还帮助领导了要求他对此负责的抗议行动。Tellingly, James reacted forcefully on Twitter. In common with other millennials, he has made social media, with its many opportunities for ;oversharing; self-display, a means of communication that pushes outward, instead of turning inward.詹姆斯在Twitter上进行了有力回应。虽然社交媒体很容易成为过度自我展示的平台,但是和其他千禧一代一样,他把它们变成了一种向外沟通而非只关注自我的工具。And he is not alone. We all know about celebrity-stalking websites like Gawker and TMZ, and the harm they wantonly inflict. But the millennial Brandon Stanton, a 30-year-old former bond trader and self-taught camera portraitist, has created a counterexample in ;Humans of New York,; his popular photo blog.而且这么做的不只他一个人。我们都知道Gawker和TMZ等跟踪明星的网站以及它们对明星的肆意伤害。但30岁的千禧一代布兰登·斯坦顿(Brandon Stanton)却树立了一个相反的例子。他曾做过券交易员,后来自学成为肖像摄影师,创立了一个很受欢迎的照片客——“纽约人物”(Humans of New York)。Combing streets and parks, Mr. Stanton takes pictures of ordinary people and interviews them about their lives. The resulting images and excerpts give dignity to what might otherwise be forgotten faces in the urban crowd. Published in book form, ;Humans of New York; became a No. 1 best seller last fall.斯坦顿在街上和公园里为普通人拍照,并采访他们的生活。最后的照片和采访节选将尊严赋予都市人潮中可能被忽略的一张张面孔。去年秋天,结集出版的《纽约人物》荣登畅销书榜首。A similar theme illuminates the writings of Leslie Jamison, a 31-year-old Yale graduate student who has emerged as an accomplished essayist in her acclaimed book ;The Empathy Exams.; On the surface, Ms. Jamison#39;s confessional writings look like exhibitionism — including the title essay, which records her time as a ;medical actor; enacting a script of symptoms for the benefit of medical students.31岁的莱斯莉·贾米森(Leslie Jamison)的著作也阐明了同样的主题。她是耶鲁大学的研究生,凭借饱受赞扬的《同情心检查》(The Empathy Exams)一跃成为知名散文作家。表面上看,贾米森的自传体作品有点暴露癖——包括书中的同名散文,说的是她为医学院的学生们充当“医学演员”,按照脚本表演各种疾病症状。Yet she has been deluged with mail from grateful ers, who have poured forth their own, often harrowing experiences. ;I found myself becoming an unwitting confessor to countless strangers,; Ms. Jamison wrote last month in The Guardian. ;I started to feel like confession could be the opposite of solipsism.;不过她后来收到了大量充满感激之情的读者来信,他们通常是向她倾诉自己的痛苦经历。“我发现自己无意中对着无数陌生人忏悔了,”贾米森上个月在《卫报》上发表文章说,“我开始觉得忏悔可能是唯我论的反面。”On book tour, Ms. Jamison clinched the bond. ;Whenever someone asked me to sign her book, I would ask her to sign mine,; she wrote. ;It was a way to create, for a moment, the kind of symmetry that felt impossible in the letters I received.;在图书巡展上,贾米森紧紧抓住这个情感联系的机会。“不管什么时候有人请签名,我都会让她也给我签一个名,”她写道,“这能营造出一种短暂的对等,这是我在读者来信中不可能感受到的。”Empathy was a theme sounded repeatedly by some of the millennials photographed for this article, and interviewed in an online slide show that accompanies it.我们为本文拍摄了其中一些千禧一代的照片并采访了他们——在本文随附的幻灯中你能看到他们的照片和采访节选——从他们口中我们经常听到的一个主题是“同情心”。One said he hoped to succeed because ;the better you#39;re doing, the more you can share with other people.; Another pointed out that while he was nursed on the traditional American dream — ;this idea that if you worked hard and got good grades and did all the right stuff you would succeed; — he has developed a more pragmatic version of it suited to the economic realities of the 21st century.有个人说他希望成功是因为“你做得更好,就有更多的东西能和别人分享”。另一个人指出,虽然他从小接受传统美国梦的教育——“如果你努力工作,取得好成绩,做所有正确的事,你就会成功”——但他摸索出了一个更更适应21世纪经济现状的美国梦。;I know that as hard as I work — and I work very hard — I very well may fail. And it#39;s liberating to know that.; The key word is ;liberating.; In the age of the start-up, of fortunes gained and lost overnight, of flawed ideas in need of continual debugging and re-tweaking, failure is the default outcome and also, at times, the ground zero of eventual triumph.“我知道就算我努力工作——而且我工作得非常努力——我也很有可能会失败。知道这一点会让你觉得释然。”这里的关键词是“释然”。在这个创业时代,在这个可能一夜暴富、一夜破产的时代,在这个需要对有缺陷的创意不断矫正和调整的时代,失败是默认结果,有时也是最终成功的起点。No wonder, then, that ;millennials are the nation#39;s most dogged optimists,; as Pew reported in a new study this spring. ;They believe their own best days are ahead.;难怪皮尤研究中心在今年春季发布的新报告里说,“千禧一代是美国最顽固的乐观主义者”,“他们相信最好的时光就在前方”。They, and we, can expect some less-than-best days, too. Cultural transformations are seldom cost-free. And they#39;re not always permanent. A new generation, as yet unnamed, is growing up in the world the millennials have made and may aly be working on its own revision of the nation#39;s moral life.他们,还有我们,也可以预测到一些不那么好的日子。文化转型很少是不用付出代价的。而且这种转型也并不是一成不变的。尚未命名的新一代正在千禧一代创造的世界里成长,而且可能已经在书写他们自己的美国精神生活新版本。 /201409/327975 More than ever, photography has become the predominant means for us to communicate. An absolutely astounding number of pictures are shared every single day — half a billion, and rising. And yet somehow, even amid this colossal torrent of imagery, the best pictures rise to the top.如今,摄影已逐渐成为人们生活中主要的交流方式。每天约有5亿张照片被分享,而这一数据仍在上升。不过,在这巨大的图像洪流中,最佳照片跃然而出。Our top ten photographs of 2013 celebrate a variety of images from a multitude of photographers, including seasoned photojournalists Tyler Hicks (the Westgate Mall Massacre in Nairobi), Philippe Lopez, (Super Typhoon Haiyan’s destructive wrath upon the Philippines), and John Tlumacki, for his extraordinary coverage of the terror bombing at the Boston Marathon.涵盖各种题材的2013十大最佳新闻照片的作者包括经验丰富的泰勒·希克斯(Tyler Hicks),其作品为《内罗毕西门购物中心大屠杀》,菲利浦·洛佩斯(Philippe Lopez),作品为《台风“海燕”在菲律宾毁灭性的暴怒》以及约翰·特卢马奇基奇(John Tlumacki)在波士顿马拉松赛上对恐怖爆炸的非凡抓拍。The news has introduced to us several emerging photographers this year, including Mosa’ab Elshamy who documented the bloody demonstrations in Cairo’s Rabaa Square, and Daniel Etter, who made an iconic photograph during the Turkish uprising. In late April, activist and photographer Taslima Akhter made the single most haunting photograph of the fire that killed more than 1000 in a Bangladeshi garment factory: a final embrace. Although she has spent months trying to learn the names of the victims shown in that unsettling, moving picture, Akhter has been unable to identify them.今年,几位新闻摄影师新秀引起公众关注,其中有莫萨·阿布·埃尔莎米(Mosa’ab Elshamy),其作品记录了开罗解放广场的血腥示威场面,丹尼尔·埃特(Daniel Etter)创作土耳其激烈冲突的经典一幕,四月末,激进主义家兼摄影师塔斯利马·阿赫特尔(Taslima Akhter )捕捉了孟加拉国一家装厂造成1000多人死亡的火灾的难忘瞬间——《最后的拥抱》,她曾花数月去确认这张令人不安又感动的照片中受害者的姓名,但无果而终。In September, TIME published a set of images recording a brutal execution in Syria; at the time, we withheld the photographer’s name for security reasons. Now, he has decided to come forward for the first time. He is Emin ?zmen, a Turkish photographer awarded a World Press Photo prize in 2012 for his images of torture in Aleppo. The execution pictures he made over the course of one day in the midst of the Syrian cataclysm bear witness to that war’s unspeakable, and ongoing, atrocities.九月,《时代》刊出一系列叙利亚残忍行刑的照片;当时,出于安全考虑,我们不公开这位摄影师的姓名。现在,他决定正式站出来,他的名字叫埃明·厄兹曼(Emin ?zmen),是一位土耳其摄影师,他有关阿勒颇斩首事件的作品获得2012年世界新闻摄影奖。这些斩首照片见了叙利亚内战中不可言说、仍在继续的罪行。Photographer Peter van Agtmael has spent many years documenting the wars in Iraq and Afghanistan and their aftermath. In June, he made a touching portrait of an Iraqi war veteran-turned stand-up comedian, Bobby Henline, as part of a photo essay and documentary film for TIME.摄影师彼得·范·阿赫特梅尔(Peter van Agtmael)曾花数年记录伊拉克战争和阿富汗战争及其灾后景象。六月,他拍下一张伊拉克战争中幸存的老兵、单口喜剧演员鲍比·亨兰仰浮的动人照片,这是《时代》插图文章和纪录片的一部分。David Jenkins captures an astounding photograph of a great white shark near Seal Island, South Africa whose prey, the great fur seal, looks to have gotten away. You’ll have to his account to find out.戴维·詹金斯(David Jenkins)在南非群岛捕捉到一只大海豹躲避天敌大白鲨的惊险一瞬。具体情境可参考戴维的记录。Early in the year, Tim Holmes, his wife and five grandchildren took refuge in the sea bordering their property when a wild brush fire swept through their Australian coastal town. Holmes took a harrowing picture with his mobile phone to send to his daughter as proof that they were all okay. While Holmes is not a news photographer, his picture is testament to the power of the mobile phone and the fact that some of the most newsworthy and emotional pictures can be made by normal citizens in the midst of a breaking story.今年年初,蒂姆·霍姆斯(Tim Holmes)所在的澳大利亚海岸小镇被林火席卷,他和妻子及五个孙儿在海边的房子避难。他用手机拍下这张令人悲痛的照片发给女儿确认他们安全无事。尽管霍姆斯并非新闻摄影师,但他的照片明了手机功能之强大,另外还说明置身离奇事件中的普通人也可以拍出具备新闻价值的动人之作。We spoke to each of the 10 photographers about the image that he or she shot; their words provide the captions accompanying the photos in the gallery above.我们与上述10位摄影师一一对话了解他/她的作品,为以上作品配上图片说明。In the next few weeks, TIME.com will roll out our year-end photo specials. For the third year in a row, we’ll present our annual “365: Year in Pictures” gallery — a comprehensive look at the strongest picture from each and every day of 2013; the Most Surprising Pictures of the Year; TIME’s best photojournalism and portraiture from 2013 and TIME’s choice for the Wire Photographer of the Year. TIME’s Senior Photo Editor, Phil Bicker, is curating many of these galleries with help from the photo team at TIME. Bicker’s discerning and nuanced eye is responsible for the curation of TIME’s Pictures of the Week — galleries that present surprising and occasionally offbeat photographs from around the globe. We hope you will enjoy the selections and keep watching for updates through the end of 2013. Think we missed something? Tell us your favorite photo of 2013 using #TIME2013.未来几周内,《时代》官网将推出年末摄影专栏。连续三年,我们举办每年一度的“年度最佳照片”展——2013年每日最佳照片纵览;年度最惊人之作;2013《时代》最佳新闻摄影及肖像,《时代》年度最佳通讯摄影师。《时代》资深摄影编辑菲尔·比克(Phil Bicker)受《时代》旗下摄影组的帮助,组织众多摄影艺术展。视角细腻而犀利的比克负责《时代》每周最佳照片——展出世界各地出人意料的作品。我们希望您能喜欢这些摄影选集,年末将陆续上新。是否有您最喜欢的作品?您可以在2013《时代》微上告诉我们。Finally, I’m especially proud to announce that our upcoming Dec. 23rd issue of TIME will be dedicated fully to the art and power of the photograph in 2013. Stay tuned…最后,我无比自豪地宣布12月23日的《时代》将全版呈现2013伟大的艺术——年度照片集,敬请关注! /201312/269465渭南做包皮的医院渭南市第一人民医院治疗生殖感染价格

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