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广州验精子那个医院好天河长安医院输精管复通术怎么样好不好The slave system was well developed in the Zhou Dynasty.周朝时奴隶制度发展完善。The king, vassals and high officials owned slaves of different status and under dif-ferent names and forced them to create great wealth for them.国王、贵族和高官都拥有奴隶,强迫他们劳动为自己创造财富。但是这些奴隶的地位和名字却有所不同。Commonpeopleliving in the capital were called “guo ren” ,also interpreted as freemen; peasants in rural communes were called “ye ren”,or “people in the fields”.居住在都城中的普通人被称为“国人”,意为自由人,而在农村生活的人则是“野人”。Both guo ren and ye ren were exploited by the king, nobles or slave owners under various names.国王、贵族和奴隶主会以各种各样的名义剥削他们。Agriculture in the Zhou Dynasty was very intensive and in many cases it was directed by the government.周朝的农业大多数是在官府的指导下实行集约化生产。Farmland was periodically distributed on the basis of fertility.根据土地的肥沃程度定期进行重新分配。The peasant worked a piece of land distributed to him and let another piece lie fallow.农民可以先耕种一块地,而休耕另一块。The system of fallow was a progressive development and gradually replaced the method of slash and burn.“休耕制”逐步发展, 慢慢取代了原来的抛荒制。The ideal field system of the Zhou period as described in the Rites of Zhou is the well field system.根据《周礼》记载,井田制是最理想的土地制度。Every arable area was divided into nine squares in the shape of the character for “water well”.每一块耕地都被分成九块,形状尤如“井”字。Eight families were supposed to cultivate one plot of land each with a common field in the middle. The crops from it were given to the government and that of surrounding squares kept by individual farmers.八户人家为一个单位,集体耕作中间的公田,收获物归官府所有,其余部分归个人。In this way, the government was able to store surplus food and distribute it in times of famine or bad harvest.这样,官府就可以把多余的粮食储存起来,以备荒年和收成欠佳时赈灾所用。Eight families bound to this field structure thus also built an administration unit from which taxes and services could be drawn by the government.耕种井田的八户农民实际是一个行政单位,他们要向官府交租,劳役。Sharp bronze tools for farm production were widely used in cultivation and tillage on a large scale at that time. The main method of farming was called “ ou geng”,or “two men working together”.西周时,锋利的青铜农具广泛应用于规模较大的垦殖和耕耘,开始实行耦耕, 即两人一起劳动。Peasants prepared their fields with a plough driven by two men, creating compartments one chi wide, six chi counted a pace.每块地上都由两个人扶一把犁耕作,每走一步都会留下一条一尺宽,六尺长的畎(田地中间的沟)。The standard measure of fields was one mu , namely one pace wide and hundred paces long, every man could obtain a field measuring one hundred mu .土地以亩为标准计量单位,即一步宽,一百步长。每个男子都可分到一块一百亩的地。The farm management made new progress: green fertilizer was employed, fire used to control pests and the technique of simple drainage and irrigation improved.沤治和施用绿肥,以火烧法防治病虫害,标志了田间管理的新水平。There was a greater variety of farm produce, covering nearly all crops, beans and hemps.农作物品种增加,谷类、豆类和麻类等。Along with Si Jia, an imperial court official guiding the agriculture development, there were also specialized officials, chang ren, in charge of gardens, managing the production of vegetable, melon and fruit.除负责指导农业生产司稼外,周朝特别设场人,专管园圃,从事蔬菜、瓜果的生产。Handicrafts continued to develop.西周时手工业继续发展。Royal families and vassals controlled important handicraft industries, in which various handicraftsmen were engaged under the control of Si Kong. Bronze casting continued to be most important, particularly in the building of chariots.比较重要的手工业都由王室和诸侯控制,众多的百工在司空的领导下负责管理各项手工业,其中最重要的仍然是青铜铸造业尤其是战车的制造。Craftsmen had a quite low social status and had to dwell in quarters within the capital and their status was inherited.手工业者的社会地位极低,不得不居住在城市之隅,并且这种地位还要世代继承。Trade was an indispen-sable section in the social economy.商业已成为社会经济中不可缺少的部门。Aerchants,activities were restricted to markets (shi) in the capital and were tightly controlled by the government.商贾的活动被限定在都城的“市”,又被官府牢牢控制。An official Zhi Ren was appointed to care for commercial activities.市场中设有“质人”管理商业活动。At this time, slaves, cattle and horses, arms and jewellery were exchanged through barter.奴隶、牛马、兵器、珍异等物品的买卖主要是通过物物交换。Among the common people barter mostly involved daily necessities.百姓间的物物交换多为生活必需品。The currency of the Western Zhou period was a coin shaped like a cowry shell with the currency unit peng .西周的主要货币仍然是贝,以朋为单位。Another currency was copper with the currency unit lue They all originated in the Shang Dynasty.还有金(铜),以锊为单位。这两种货币都源自商代。 /201511/407426番禺妇幼保健院结扎复通 Can you imagine giant pandas baa like sheep to say ;I love you; and warble a cheerful ;I do; when wooed by a suitor, and bark like a dog when they are furious?你能想象熊猫说“我爱你”时是“咩咩咩”,说“我愿意”时像鸟叫,而说“我很生气”时又像叫吗?Researchers there have decoded 13 different kinds of giant panda vocalizations in a surprising new insight into the private life of the reclusive creatures.长期从事大熊猫人工繁育的中国保护大熊猫中心的专家们研究发现,大熊猫至少会用13种不同的声音来表达不同的意思,而“破译”了这些“猫言猫语”无疑将帮助专家们进一步了解大熊猫生活习性和心理,走进他们的世界。The China Conservation and Research Center for the Giant Panda has been working on a panda linguistics project since 2010. Scientists first made recordings of pandas at the center, vocalizations between cubs and adults in various situations, such as when they were eating, mating, nursing, fighting and so on, said Zhang Hemin, head of the center. Then they collected a large amount of data on pandas#39; voices and activities, and analyzed the voiceprints. ;We managed to decode some panda language and the results are quite interesting,; Zhang said.中国保护大熊猫研究中心主任、卧龙自然保护区局长张和民介绍,在2010年,来自音乐之乡奥地利维也纳的专家和中心合作,已经通过录音和频谱分析,破译了部分大熊猫的语言密码,听懂了它们在采食、求偶、照顾宝宝等不同情景下的“喜怒哀乐”。近年来,中心继续与其他国内外的学术研究机构合作继续“破译”工程,到目前已初见成效。Panda cubs can barely vocalize at all except to say things like ;Gee-Gee; (I#39;m hungry), ;Wow-Wow; (Not happy!) or ;Coo-Coo; (Nice!).专家们发现,刚出生的熊猫宝宝和人类宝宝一样,基本只能发出“吱吱”、“哇哇”和“咕咕”这三种简单的叫声。一般情况下“吱吱”表示“我饿了”,“哇哇”表示“我不爽了”,而“咕咕”则是表示愉悦和舒适感受时发出的满意叫声。;Adult giant pandas usually are solitary, so the only language teacher they have is their own mother,; the researcher said. When they grow a little, cubs learn how to express themselves by roaring, barking, shouting, squeaking, bleating and chirping.而熊猫在成长过程中也和人类一样要跟着母亲“学说话”,耳濡目染,它们慢慢地就会学会吼叫、吠叫、嗷叫、嘶叫、咩叫等叫声。;If a panda mother keeps tweeting like a bird, she may be anxious about her babies. She barks loudly when a stranger comes near,; Zhang said. The barking can be interpreted as ;getting out of my place;, according to the researcher. Pandas can be as gentle as a lamb when they are ;in love;. Male pandas baa all the time when they are wooing their lovers. The females respond with constant tweeting if they feel the same.比如,熊猫妈妈如果发出“咩咩”声,那可能是在寻找她的宝宝,饲养员需要适时提供帮助;而当大熊猫们发出“汪汪”的吠叫声时,则千万不要靠近他们,因为那表示他们很愤怒,想要打架或是威胁对方不要进入自己的领地。而在春季发情季节,熊猫还会使用自己独特的“恋爱语言”。雄性熊猫会发出咩叫声,那可是在用“甜言蜜语”向自己心上人求爱。被俘获芳心,坠入爱河的雌性熊猫就会发出“唧唧”“喳喳”的类似鸟鸣声,害羞回应。;Trust me. Our researchers were so confused when we began the project that they wondered if they were studying a panda, a bird, a dog, or a sheep,; Zhang said.“我们的工作人员也会开玩笑问大熊猫到底是羊、是还是鸟啊?”张和民说。The center plans to continue the study and is looking forward to the creation of a panda translator that could use high-tech voice recognition technology. ;If we can understand their language, it will help us protect the animal, especially in the wild,; he said.他表示,熊猫语言学的研究还将继续,如能够破译更多熊猫语言,甚至发明“翻译器”,那将有助于饲养员更好地理解熊猫各种声音的准确含义,也将有利于更科学地饲养、保护大熊猫,甚至能帮助大熊猫提高自然交配成功率。 /201511/408311广州番禺在哪儿做无痛人流

天河哪家治月经不调医院最好While the new media artist Lu Yang was studying at the China Academy of Art in Hangzhou in the 2000s, she drew up a series of works dealing with mind control. Many were deemed too sensitive, even borderline unethical, and remain unrealized. But with the help of the Fukuoka Asian Art Museum in Japan, Ms. Lu was able to obtain dead frogs that had been used in a medical dissection to produce one of the works. The result is a six-minute called “Reanimation! Underwater Zombie Frog Ballet” (2011), in which frogs wired to electrodes dance in water to a funky electronic beat.当新媒体艺术家陆扬于2000年代初在杭州的中国美术学院学习时,她绘制了一系列有关精神控制的作品。许多作品被认为过于敏感,甚至近乎不合伦理,因而仍未实际做出来。但在日本福冈亚洲美术馆的帮助下,陆扬得到了曾用于医学解剖的死青蛙,来创作一个作品。其结果就是2011年的《复活!僵尸青蛙水下芭蕾!》(Reanimation! Underwater Zombie Frog Ballet)。这段六分钟视频中,青蛙被连接到电极上,随着强烈的电子节拍在水下跳舞。Since graduating in 2010, the Shanghai-born Ms. Lu, 30, has produced a series of boundary-pushing multimedia works that explore neuroscience, mortality and religion.自2010年毕业以来,今年30岁、出生于上海的陆扬已经创作了一系列突破界限的多媒体作品,探索神经科学、死亡和宗教。In “Uterus Man” (2013), she collaborated with musicians, manga artists and others to create a project centered on an anime-style character called Uterus Man who rides a “pelvis chariot” and skateboards on a winged sanitary pad.在2013年的作品《子宫战士》(Uterus Man)中,她与音乐人、漫画家及其他人共同创作了一个项目,以一个叫做“子宫战士”的动漫风格的人物为中心,这个人物驾驶“骨盆战车”,并把护翼卫生巾当成滑板踩着。In “Moving Gods” (2015), which was featured in the China Pavilion at the 2015 Venice Biennale, Ms. Lu redefines the nimbus — the halo often seen in images of sacred figures — in what is meant to be a “sabotage” of ancient religious icons.在2015年的作品《移动神佛》(Moving Gods)中,陆扬重新定义了光背——即在神佛的画像中,背后常见的光晕——它意味着对古代宗教偶像的“破坏”。这个作品在2015双年展的中国馆里进行过展出。Her latest work is “Lu Yang Delusional Mandala” (2015), presented in September in a solo show at Beijing Commune. It applies concepts like stereotactic mapping and deep-brain stimulation to simulate a “delusion” in which Ms. Lu destroys her own body and work.她最新的作品是今年的《陆扬妄想曼陀罗》(Lu Yang Delusional Mandala),9月曾在北京公社的个展中展出过。它应用了类似于立体定向和深层脑刺激的概念来模拟“妄想”,陆扬在作品中对自己的身体和作品进行了摧毁。In an interview, Ms. Lu reflected on the human body, growing up in Shanghai and her collaboration with a Japanese asexual artist.陆扬在接受采访时思考了人体,回顾了在上海的成长,也讲述了与一位日本无性艺术家的合作。Q: How did you become interested in the subject of the body?问:你是怎样开始对身体主题发生兴趣的?A: When I was a child, I spent a lot of time in hospital emergency rooms because I had asthma. So naturally I became interested in the idea of medical treatment and the body. The body is fascinating to me because it is totally objective. There is no right or wrong. That’s why in my work I don’t indicate the value or the aim of things. I use a very cold and calm approach.答:从我还是个孩子的时候就开始了,因为我有哮喘,我在医院急诊室度过了很多时间。所以我自然而然地对医疗和身体的概念产生了兴趣。身体是很奇妙的,因为它是完全客观的,没有对和错。这就是为什么在我的作品中,不表达事物的价值或目的。我会用一种很冷、很平静的视角。Another theme in my work is religion. It’s more difficult to get into religion when you’re older because you’re more skeptical. But growing up, my family was pretty religious. I often my grandmother’s books about Buddhism, which made me really interested in religion.我作品中的另一个主题是宗教。当你年纪大一些时,就更难信仰宗教,因为会更加怀疑。但在我的成长过程中,我的家庭相当虔诚。我经常阅读我祖母有关佛教的书,这使我对宗教非常感兴趣。Q: Does your family have a background in art?问:你的家庭有艺术背景吗?A: My parents were just ordinary workers at a medical company. Now they’re both retired. I don’t talk about my art with my parents. But I think they’ve probably looked up my work on the Internet. They know I make art, and they know I can make a living. I can depend on myself, so for them that’s enough.答:我的父母只是一家医疗公司的普通工作人员,现在他们都退休了。我不和父母谈论我的艺术,但我想他们可能在网上搜过我的作品。他们知道我创作艺术,知道我能以此谋生。我可以依靠自己,所以对他们来说这已经足够。Q: Did you know from a young age, growing up in Shanghai, that you wanted to be an artist?问:你在上海长大时,从很小的时候就知道自己想成为一个艺术家吗?A: I always dreamed of being an artist. But after I entered middle school, I didn’t think it would be possible. I didn’t even know what artists did exactly. I only knew that artists could be creative in their work.答:我一直梦想成为一个艺术家。但在我上中学之后,我还不认为这是可能的。我甚至不知道艺术家到底是做什么的。我只知道,艺术家们可以在他们的作品中发挥创造力。I was able to get into the China Academy of Art because I really liked to paint. I was growing up at about the same time that Chinese contemporary art was beginning to emerge, so I learned about contemporary art early on. When I was in middle school, my classmates were interested in the latest trends, but I wanted to find more special things, so I started going to galleries and listening to Japanese music. Later, in high school, I subscribed to some magazines about contemporary art.我能够进入中国美术学院,是因为我真的喜欢画画。我成长在中国当代艺术开始萌芽的同一时期,所以很早我就了解了当代艺术。我在中学的时候,同学们都对最新的流行感兴趣,但我想寻找更特别的东西,所以我开始去画廊并且听日本音乐。后来,我在高中时订阅了一些有关当代艺术的杂志。Q: What were some of your early influences?问:有哪些东西对你产生了早期影响?A: I used to like Western rock music, but I don’t really listen to it anymore. I was also exposed to Japanese culture at an early age. In Shanghai, a lot of television channels played Japanese cartoons, so they had a big influence on our generation. My favorite thing today is still mainstream culture, like sci-fi movies with really good computer-generated effects and other really good Japanese animated movies. I don’t really like art-house films.答:我以前喜欢西方摇滚乐,但现在不怎么听了。我小时候也接触了日本文化。在上海,很多电视频道都播放日本卡通片,对我们这代人影响很大。我现在最喜欢的还是主流文化,像电脑特效非常好的科幻电影,还有其他很不不错的日本动画电影。但我不喜欢艺术片。Q: You often collaborate with other nonvisual artists, like the sound artist Wang Changcun and the composer Du Yun. How do these collaborations come about?问:你经常和非视觉的艺术家合作,如声音艺术家王长存和作曲家杜韵。这些合作是怎么开始的呢?A: Sometimes I search for musicians and sometimes they find me. I’ve collaborated with musicians who work in opera, death metal, electronic and pop music, and hip-hop. They are usually acquaintances or people I’ve discovered on websites like SoundCloud. The Internet is quite useful, because I don’t really interact with people that much. As long as I have access to a computer, I can make art.答:有的时候是我找音乐人,有时候是他们找我。我合作过的音乐人有从事歌剧的,有做死亡金属的,还有做电子和流行音乐以及嘻哈音乐的。通常是之前就认识人,或者是我在SoundCloud这样的网站上发现的。互联网很有用,因为我和人接触并不多。只要有电脑,我就能创作艺术。Q: What are the websites you go to?问:你通常都上哪些网站?A: One is Bilibili, a website for watching cartoons. I visit this every day.答:一个是哔哩哔哩(Bilibili),是个看卡通的网站。我每天都上。When I finish a work, I’ll upload it on Vimeo. For me, it’s important what average people online think. They’re not like people in art circles who might be really phony and say, “Oh, I like your work so much.” It’s boring if the only people who see your work are from one circle.我完成作品后,就会把作品上传到Vimeo上。对我来说,网上普通人的想法很重要。他们不像艺术圈的人,可能会很假地说:“哎呀,我太喜欢你的作品了”。如果看你作品的人来自一个圈子,就很没意思。Q: Do you identify as a Chinese artist?问:你认为自己是中国艺术家吗?A: It’s kind of inevitable that you’re labeled as one. If I have an exhibition abroad, they always say, “This is a Chinese artist.” But that’s why I say that I want to live on the Internet. That way, nobody knows who you are. People online only care about your work and whether it’s any good. They’re not thinking about who the person is behind the work. By living on the Internet, you can abandon your identity, nationality, gender, even your existence as a human being. I rather like this feeling.答:其实免不了会被贴上这个标签。如果我在国外办展览,他们总会说,“这是一位中国艺术家”。但这就是为什么我想活在网上。那样的话,没人知道你是谁。网上的人只在乎你的作品好不好。他们不去考虑谁是作品背后的那个人。在网上,你可以抛弃身份、国籍、性别,甚至是作为一个人的存在。我挺喜欢这种感觉的。Q: Can you talk about your 2013 work “Uterus Man”?问:你能不能谈谈你2013年的作品《子宫战士》?A: The human embodiment of “Uterus Man” in my work is a Japanese man named Mao Sugiyama, who had his genitals cut off and served them in a meal to other people. When I first heard about him I thought he sounded really weird. But then I noticed that he was a painter and that he had said that he hated gender labels and if he was just a painter then why did he need to have a gender? I was really moved so I got in touch with him. That’s how we started collaborating.答:我的作品里“子宫战士”的人类化身是一个叫杉山真央(Mao Sugiyama)的日本人。他做了生殖器移除手术,并将切除的部分做成食物给他人食用。我第一次听说的时候,觉得他非常诡异。但后来注意到他是一个画家,而且说过他痛恨性别标签,还说过如果自己只是一名画家,为什么还需要有性别。我非常受感动,所以和他取得了联系。我们就这样开始合作了。A lot of people think it’s a feminist work, while others think that it’s a superhero story. People project what they’re aly thinking. My own opinion is that you can’t choose your gender when you’re born and it only matters in a social context. When you’re contemplating something, you don’t consciously think, “As a man, I think this” or “As a woman, I think this.” That’s why I think society’s gender divisions are pretty absurd.很多人认为这是一部女权主义作品,其他人则认为这是一个超级英雄故事。人们会投射他们已经有的想法。我自己的观点是,你出生时无法选择性别,性别只有在社会背景下才会成为一个问题。当你在思考一件事时,不会下意识地想,“作为一个男人,我这样想”,或者“作为一个女人,我这样想”。所以,我觉得社会性别的划分很荒谬。Q: You said you basically live on the Internet and your work is influenced by things you see online. Is there any influence from real-world events or politics?问:你说过你基本上生活在网上,你的作品受到你在网上看到的东西的影响。现实世界的事件或政治对你有什么影响吗?A: The older generation of artists really like to make works concerning politics or the nation. But I think there are limitations to this creative method. If you don’t understand politics, or if you’re not from that country, you can’t understand the works.答:老一代的艺术家真的很喜欢创作与政治或国家有关的作品。但我觉得这种创作手法存在局限性。如果不了解政治,或者不是来自这个国家,就无法理解作品。I don’t really understand these kinds of things myself. I’m really scared of going to museums, because I don’t understand a lot of the works. There are things that are common to all human beings and even animals. Basically, I spend my time chasing after those universal things we all have in common.我自己实际上就不了解这类东西。我很害怕去物馆,因为不理解其中的很多作品。有一些东西是所有人类,甚至动物,共通的。所有人类,甚至动物,存在共同之处。我的时间基本上都花在研究那些我们所共有的,普世的东西上。 /201512/412982天河看不孕不育的医院 广州看妇科好的医院有哪些

长安男科怎么预约Born into the age of the flapper, growing up with the frugality of wartime and witnessing the advent of the miniskirt, the Queen has lived through ten different decades of fashion.生于女性追求无拘无束的上世纪20年代,成长于节俭朴素的二战时期,还见了超短裙的诞生,英国女王伊丽莎白二世经历了十个各不相同的时代潮流。For her own part, Elizabeth II is estimated to have worn well over 10,000 outfits to official engagements over her lifetime, created by a series of dedicated designers.据估计,伊丽莎白二世一生中出席官方场合穿过的礼超过一万套。这些装皆由女王御用的设计师设计而成。Now a trio of exhibitions by the Royal Collection Trust to mark the monarch#39;s 90th birthday will put more than 150 different outfits on display to the public.为庆祝女王90岁寿辰,英国皇家收藏信托(Royal Collection Trust)将举办三场展览,向公众展出女王150多套不同装。The largest ever exhibition of the Queen#39;s wardrobe, Fashioning a Reign: 90 Years of Style from The Queen#39;s Wardrobe will bring together childhood fancy dress costumes, military regalia and glamorous ceremonial dresses.此次展览名为“时尚一世:女王90年穿衣之道(Fashioning a Reign: 90 Years of Style from The Queen#39;s Wardrobe),将是史上规模最大的女王装展。展览将呈现女王童年时期的剧、阅兵以及华丽的礼。The three displays will each have a distinct theme. The fancy dress costumes worn by the young Princess Elizabeth at wartime family pantomimes will be on show at Windsor Castle from September 2016 alongside dazzling evening gowns and smart official clothes.三场展览都主题鲜明。温莎城堡(Windsor Castle)的展览将于2016年9月举办,展出二战时期伊丽莎白公主出演家庭童话剧时所穿的剧。此次展览还会展出女王令人炫目的晚礼和干练的正装。It is not known yet which pantomime costumes will be included, but the Queen and her younger sister, the late Princess Margaret, appeared on stage in their youth in a number of shows including Aladdin and Cinderella, where Elizabeth played the role of Prince Florizel.展览将展出哪些童话剧装还尚未可知,但伊丽莎白二世和她的玛格丽特公主(已过世)幼时曾出演多部童话剧,包括《阿拉丁》和《灰姑娘》。在《灰姑娘》中女王扮演的是弗罗利泽王子。She was once again given the male part in a performance of Sleeping Beauty in 1942, where Margaret was Fairy Thistledown and her elder sister Prince Salvador.1942年,在演出《睡美人》时,伊丽莎白二世再次担纲男性角色——萨尔维多王子,而玛格丽特公主则扮演了蓟花仙子。The focus at the Palace of Holyroodhouse will be tartan, tracking the use of the pattern in royal dress over the years. The exhibition at the Edinburgh residence will open on 21 April 2016, the day the Queen turns 90.荷里路德宫(Palace of Holyroodhouse)的展览将围绕花格图案进行,向人们展现历年来皇家礼所用花格图案的历史变迁。这场将在女王的爱丁堡宅邸举行的展览将于2016年4月21日开幕,也就是女王90大寿当天。The flagship exhibition at Buckingham Palace will display the full the sartorial spectrum of the Queen#39;s life, from early childhood to her wedding and coronation clothes and special ensembles put together for State Visits. The display will coincide with the summer opening of the state rooms at the palace from August next year.最为盛大的展览将在白金汉宫(Buckingham Palace)举行。这场展览将完整地展出女王一生的装剪裁变迁,从幼年着装到婚礼礼,从加冕时所穿的礼到为专门为国事访问设计的套装。这场展览将于2016年8月开幕,与白金汉宫的国事厅夏季对外开放的时间一致。Known for her brightly coloured outfits, the Queen once remarked, ;I can never wear beige because nobody will know who I am;.女王以着装颜色鲜艳而闻名,她曾说道:“我绝对不能穿淡棕色的衣,那样可没人能认出我是谁了”。For the wedding of the Duke and Duchess of Cambridge she wore a sunny yellow dress with sunray beading at the neckline, while at her great-grandson#39;s christening she opted for a sky blue shade.剑桥公爵夫妇大婚之际,女王身着明黄色套裙,领口还饰有太阳褶珠绣。重孙乔治小王子受洗时,女王选择了一件天蓝色外套。The Queen is estimated to have completed around 25,000 royal engagements in her lifetime, although some of these involved repeated outfits.据估计,英国女王伊丽莎白二世一生中出席的皇家活动达2.5万场左右,尽管有些装也穿了不止一次。 /201511/407265 The spending power and keen interest in travel by those in China#39;s well-heeled LGBT community are attracting growing attention from tourism startups and investors.我国富裕的同性恋群体的消费能力和对旅游的热衷正愈发吸引旅游创业公司以及调查者的注意。Wang Zhao, CEO and co-founder of GLOW Travel, an acronym for Gays and Lesbians On the Way, had been a travel consultant for years when his gay friends said he should be providing services tailored for people like them.GLOW Travel(同性恋在路上的缩写)公司的创始人兼CEO王钊,在他的同性恋朋友们告诉他应该为同性恋人群提供务时,已经担任旅游顾问很多年了。In November 2014, Wang organized a trip for a group of 11 gay travelers to the island of Bali, Indonesia. Its success confirmed his decision to start a company focusing exclusively on such services for China#39;s lesbian, gay, bisexual and transgender community.在2014年11月,王钊组织了11名同性恋游客前往印度尼西亚的巴厘岛度假的活动。这一活动的成功也坚定了他创办一家专注于为中国女同性恋,男同性恋,双性恋和变性人社区等提供务的网站。;People like us have totally different interests and demands when traveling abroad. We want to explore local communities that are friendly to homosexuals instead of pure sightseeing,; said Wang, 35. ;Additionally, LGBT people have strong demands for acceptance during their trips. Travel is also a good way for them to make friends.;“像我们一样的人,在旅游时有完全不同的兴趣和需求。我们想要探索那些对同性恋友好的地方,而不是纯粹的观光。”35岁的王钊说道。“此外,同性恋群体在旅行期间有强烈的接受外界的需求。旅行也是一个很好的交朋友的方式。”Although there are no official statistics, it is estimated that China has 50 million to 70 million people who identify as LGBT. A report from WorkForLGBT, a nonprofit business network in Beijing, said those they surveyed in China#39;s cities are not only doing well financially, they also enjoy traveling.虽然并没有官方数据,但是据估计,我国已公开的同性恋者数量在5000万到7000万之间。根据北京的一个非营利的商业网络站--WorkForLGBT的报道,他们调查的这些中国城市里的群体,不仅财务良好,而且很享受旅行。The survey said 75 percent of its respondents traveled within the Chinese mainland over the past year and a quarter traveled overseas.该调查还显示,受访者中的75%在过去的一年中曾在国内旅行,四分之一的人曾去海外旅行。 /201601/422393花都看不孕公立医院广州长安怎么样正规吗




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