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玉泉区治疗肛瘘肛裂哪家医院最好的内蒙古医科大学附属医院看男科好吗All dates are subject to change.展览日期有可能出现变动。ASIAN ART AT 100: A HISTORY IN PHOTOGRAPHS 亚洲艺术部百年诞辰:照片中的历史(Asian Art at 100: A History in Photographs) The Met continues its celebration of the Department of Asian Art’s 100th anniversary with 19 shows, including this meta-survey of the Met’s Asian galleries, photographed from 1907 to 1945. Through May 22, Metropolitan Museum of Art.大都会艺术物馆(Met)用19场展览来庆祝亚洲艺术部成立100周年,包括这场自我探究式的展览,展示该部从1907年至1945年以来的照片。大都会艺术物馆,至明年5月22日。FOR A NEW WORLD TO COME: EXPERIMENTS IN JAPANESE ART AND PHOTOGRAPHY, 1968-1979 即将到来的新世界:日本艺术和摄影实验,1968年至1979年(For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979)Vietnam War protests and opposition to a treaty extending American occupation serve as backdrops for this exhibition of Japanese art, organized by the Museum of Fine Arts in Houston. Through Dec. 5, Grey Art Gallery, New York University, nyu.edu/greyart; Oct. 9-Jan. 10, Japan Society Gallery, japansociety.org.这场关于日本艺术的展览以反对越战及延长美军占领协议的抗议活动为背景,组织者是休斯顿美术馆(Museum of Fine Arts in Houston)。纽约大学格雷艺术画廊(Grey Art Gallery,nyu.edu/greyart),至12月5日;日本协会画廊(Japan Society Gallery,japansociety.org),至1月10日。PHILIPPINE GOLD: TREASURES OF FORGOTTEN KINGDOMS 菲律宾黄金:被遗忘国度的宝藏(Philippine Gold: Treasures of Forgotten Kingdoms)Jewelry, ceremonial weapons and funerary masks are among the roughly 120 objects on view, made between the 10th and 13th centuries. Through Jan. 3, Asia Society Museum, asiasociety.org.这场展览共展出约120件10世纪至13世纪的物品,包括珠宝、仪仗武器和丧礼面具。亚洲协会物馆(Asia Society Museum,asiasociety.org),至明年1月3日。FRANK GEHRY 弗兰克·格里(Frank Gehry)Co-organized by the Pompidou Center in Paris and LACMA, the exhibition looks at the career of Canadian-born starchitect Frank Gehry, who set up shop in Los Angeles in 1962. Sept. 13 through March 20, Los Angeles County Museum of Art, lacma.org.这场展览是巴黎的蓬皮杜中心(Pompidou Center)和洛杉矶艺术物馆(Los Angeles County Museum of Art)联手举办,探索加拿大出生的明星建筑师弗兰克·格里的事业。1962年,他在洛杉矶创办自己的建筑事务所。洛杉矶艺术物馆(lacma.org),至明年3月20日。GATES OF THE LORD: THE TRADITION OF KRISHNA PAINTING 神之门:克利须那绘画传统(Gates of the Lord: The Tradition of Krishna Painting)About 70 objects relating to pichwais, paintings portraying a distinct form of the Hindu god Krishna, and which originated in Western India, are on view. Sept. 13 through Jan. 3, Art Institute of Chicago, artic.edu.这场展览展示与pichwais有关的约70件艺术品。pichwais描绘印度教克利须那神的一个独特法相,它起源于西印度。芝加哥艺术学院(Art Institute of Chicago,artic.edu),至明年1月3日。PICASSO SCULPTURE 毕加索雕塑展(Picasso Sculpture)The first museum survey of Picasso’s sculpture in nearly 50 years includes assemblages made from nontraditional materials like plywood, as well as photographs and works on paper that reveal his groundbreaking approach to sculpting in three dimensions. Sept. 14 through Feb. 7, Museum of Modern Art.这场展览探索毕加索将近50年的雕塑创作,包括用胶合板等非传统材料制作的雕塑以及摄影和纸上作品。这些作品展现了他开创性的三维雕塑法。现代艺术物馆(Museum of Modern Art),至明年2月7日。MARK ROTHKO: A RETROSPECTIVE 马克·罗思科回顾展(Mark Rothko: A Retrospective)The first major retrospective of Rothko’s work since 1998, featuring his luminous Color Field canvases divided into hovering rectangles. Sept. 20-Jan. 24, Museum of Fine Arts, Houston, mfah.org.这是自1998年以来的首场罗思科作品大型回顾展,包括他鲜艳的色场(Color Field)帆布画。休斯顿美术馆(mfah.org),至明年1月24日。THE POWER OF PICTURES: EARLY SOVIET PHOTOGRAPHY, EARLY SOVIET FILM 图片的力量:早期苏联摄影与电影(The Power of Pictures: Early Soviet Photography, Early Soviet Film)The work of innovators associated with Soviet Constructivism, like Alexander Rodchenko and El Lissitzky, is celebrated in this show. Sept. 25-Feb. 7, the Jewish Museum, thejewishmuseum.org.这场展览展示苏联构成主义创新者的作品,比如亚历山大·罗琴科(Alexander Rodchenko)和埃尔·利西茨基(El Lissitzky)。犹太物馆(Jewish Museum,thejewishmuseum.org),至明年2月7日。PIXAR: THE DESIGN OF STORY 皮克斯动画制片公司:故事的设计(Pixar: The Design of Story)Hand-drawn sketches, paintings and sculptures reveal how story and characters are developed into animated movie blockbusters. Oct. 8-Aug. 7, Cooper Hewitt, Smithsonian Design Museum, cooperhewitt.org.这场展览通过手绘素描、油画和雕塑展现故事和人物是如何演变成动画电影大片的。库珀休伊特史密森尼设计物馆(Cooper Hewitt, Smithsonian Design Museum,cooperhewitt.org),至明年8月7日。INTERNATIONAL POP 国际波普艺术(International Pop)Dallas is the second site, after the Walker Art Center in Minneapolis, for this exhibition of Pop Art that splintered into international movements like Nouveau Réalisme in France, Concretism and Neo-Concretism in Brazil and Capitalist Realism in Germany. Oct. 11-Jan. 17, Dallas Museum of Art.达拉斯艺术物馆(Dallas Museum of Art)是这场波普艺术展的第二站,首站是在明尼阿波利斯的沃克艺术中心(Walker Art Center)。波普艺术分裂成了多个国际潮流,比如法国的新现实主义、巴西的具体主义和新具体主义,以及德国的资本现实主义。达拉斯艺术物馆,至明年1月17日。ANCIENT EGYPT TRANSFORMED: THE MIDDLE KINGDOM 古埃及的转换:中王国时期(Ancient Egypt Transformed: The Middle Kingdom)Sculpture depicting pharaohs and their families, but also objects created by people from the nonelite sectors of society and examples reveal Egypt’s relations with foreigners during the Middle Kingdom (c. 2030-1650 B.C.). Oct. 12-Jan. 24, the Metropolitan Museum of Art.这场展览不仅展示法老及家人的雕塑,还有非精英阶层创作的物品,同时通过例展示中王国时期(约为公元前2030年至1650年)的埃及与外国的关系。大都会艺术物馆,至明年1月24日。ZHANG HONGTU 张宏图作品展Best known for making objects that satirize Mao Zedong and his Cultural Revolution, this is the first ed States survey of the Queens-based artist Zhang Hongtu. Oct. 18-Feb. 28, Queens Museum, queensmuseum.org.张宏图定居于纽约皇后区,以创作讽刺毛泽东和文化大革命的作品闻名。这是美国的第一场研究这位艺术家的展览。皇后区物馆(Queens Museum,queensmuseum.org),至明年2月28日。JAPANESE KOGEI | FUTURE FORWARD 日本手工艺品:展望未来(Japanese Kogei | Future Forward)Twelve artists reveal changing approaches to Japanese kogei, or “handcrafts” — particularly in the realm of ceramics. Oct. 20-Feb. 7, Museum of Arts and Design.12位艺术家展示日本手工艺品不断变化的新方法,尤其是陶瓷领域。艺术与设计物馆(Museum of Arts and Design),至明年2月7日。MARVELOUS OBJECTS: SURREALIST SCULPTURE FROM PARIS TO NEW YORK 非凡的作品:从巴黎到纽约的超现实主义雕塑(Marvelous Objects: Surrealist Sculpture from Paris to New York)More than 100 sculptures by Man Ray, Salvador Dalí, Joan Miró and others make up this comprehensive survey of Surrealist sculpture. Oct. 29-Feb. 15, Hirshhorn Museum and Sculpture Garden, Washington, hirshhorn.si.edu.这是一场对超现实主义雕塑的全面审视,包括多位艺术家的100多件雕塑作品,比如曼·雷(Man Ray)、萨尔瓦多·达利(Salvador Dalí)和胡安·米罗(Joan Miró)等。华盛顿赫什霍恩物馆与雕塑公园(Hirshhorn Museum and Sculpture Garden,hirshhorn.si.edu),至明年2月15日。LOOKING EAST: HOW JAPAN INSPIRED MONET, VAN GOGH, AND OTHER WESTERN ARTISTS 看东方:日本如何给莫奈和梵高等西方艺术家带来灵感(Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists)Organized by the MFA, Boston, this exhibition explores japonisme, the late-19th-century craze for all things Japanese, seen in the work of artists from Mary Cassatt to Edvard Munch and Frank Lloyd Wright. Oct. 30-Feb. 7, Asian Art Museum of San Francisco, asianart.org.这场展览由波士顿美术馆(MFA, Boston)主办,通过玛丽·卡萨特(Mary Cassatt)、爱德华·蒙克(Edvard Munch)和弗兰克·劳埃德·赖特(Frank Lloyd Wright)等艺术家的作品来探讨日本风(japonisme)——19世纪末对日本所有事物的狂热。旧金山亚洲艺术物馆(Asian Art Museum of San Francisco,asianart.org),至明年2月7日。MARTIN WONG: HUMAN INSTAMATIC 黄马鼎:人形相机(Martin Wong: Human Instamatic)This presentation of Martin Wong’s paintings will explore his role in the ’80s and ’90s Lower East Side art scene, but also his relationship to painters like Marsden Hartley and Alice Neel, who also painted local community portraits. Nov. 5-Feb. 14, Bronx Museum of the Arts, bronxmuseum.org.这场黄马鼎绘画展不仅探索20世纪八九十年代他在下东区艺术界的角色,而且探索他与马斯登·哈特利(Marsden Hartley)和爱丽丝·尼尔(Alice Neel)等艺术家的关系。他们都曾在当地社区画肖像画。布朗克斯艺术物馆(Bronx Museum of the Arts,bronxmuseum.org),至明年2月14日。JACQUELINE DE RIBES: THE ART OF STYLE 杰奎琳·德里布:时尚的艺术(Jacqueline De Ribes: The Art of Style)A Parisian aristocrat who served as a muse to Yves Saint Laurent and Valentino, but also ran her own design business, gets a retrospective. Nov. 19-Feb. 21, the Metropolitan Museum of Art.杰奎琳是巴黎贵族,曾是伊夫·圣罗兰(Yves Saint Laurent)和瓦伦蒂诺(Valentino)的灵感缪斯,而且经营自己的设计生意。这是一个关于她的回顾展。大都会艺术物馆,至明年2月21日。ART BASEL MIAMI BEACH 迈阿密海滩巴塞尔艺术展(Art Basel Miami Beach)The 14th edition of this popular, glitzy fair, which attracted more than 70,000 visitors last year, returns to South Beach. Dec. 3-6; artbasel.com.盛大的迈阿密海滩巴塞尔艺术展一向很受欢迎,去年吸引了七万多名观众。今年的第14届在南海滩举行。12月3日至6日。WOVEN GOLD: TAPESTRIES OF LOUIS XIV 黄金织物:路易十四的挂毯(Woven Gold: Tapestries of Louis XIV)With loans from the French government, this is a rare chance to see on American soil handwoven tapestries that hung in the palaces and courtyards of the Sun King. Dec. 15-May 1, the J. Paul Getty Museum at the Getty Center, Los Angeles.这些曾悬挂在太阳王宫廷里的手工挂毯由法国政府借出,能在美国本土看到这些挂毯,机会难得。洛杉矶盖蒂中心(Getty Center)的J·保罗·盖蒂物馆(J. Paul Getty Museum),12月15日至明年5月1日。POP ART DESIGN 波普艺术与设计(Pop Art Design)The relationship between Pop Art and design is explored in works by Andy Warhol, Charles Eames and George Nelson, among others. Dec. 19-March 27, Museum of Contemporary Art Chicago, mcachicago.org.这场展览通过安迪·沃霍尔(Andy Warhol)、查尔斯·埃姆斯(Charles Eames)和乔治·内尔松(George Nelson)等艺术家的作品探索波普艺术与设计的关系。芝加哥当代艺术物馆(Museum of Contemporary Art Chicago,mcachicago.org),12月19日至明年3月27日。VAN GOGH’S BEDROOM 梵高的卧室(Van Gogh’s Bedroom)The most famous bedroom in modern art history, Van Gogh’s sleeping chamber in Arles, will be on view in its three extant versions: the paintings owned by the Van Gogh Museum in Amsterdam, the Musée d’Orsay in Paris, and Chicago’s canvas. Feb. 14-May 8, Art Institute of Chicago.现代艺术史上最著名的卧室当属梵高在阿尔勒所住的卧室。现存的三个版本将被放在一起展出:阿姆斯特丹梵高物馆(Van Gogh Museum)和巴黎奥赛物馆(Musée d’Orsay)的油画以及芝加哥的帆布画。芝加哥艺术学院,2016年2月14日至5月8日。 /201510/402725巴彦淖尔市第一人民妇幼中医院阳痿早泄价格 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呼和浩特有哪家医院好

呼和浩特激光包皮手术多少钱“We’re steeped in Viking history, with all its fantastic stories, and if you have a story you can sell more,” said Patricia Retson, Highland Park’s brand heritage manager, after we had toured the distillery’s dankly atmospheric cellar and sleek tasting room. “But we’re also trying to make a real connection, and if it’s going to work, it has to be authentic.” To that end, the distillery’s Loki gets its mischievousness from an aroma that is all sweet apples, but turns to smoke and wood on the palate. Its Leif Erikssonis aged in 100 percent American oak barrels.“我们是浸透着维京历史的,有许许多多幻异故事,有了故事,东西就更好卖,”高原骑士品牌传承经理帕特莉西亚·雷特逊(Patricia Retson)说,她刚刚带着我们参观了阴冷潮湿的酒窖和装潢精美的品酒厅。“但是我们也在努力建立一种真正的联系,这种联系要想发挥作用,必须得纯正才行。”为此,酒厂出品的Loki(洛基)用甜苹果的芳香构成了一种调皮的气质,但尝起来却是烟熏和木味。而它的Leif Erikssonis(莱夫·埃里克松)是在百分之百的美国橡木桶里陈放的。Yet in downtown Kirkwall, where the Romanesque cathedral, built of sandstone, houses the relics of St. Magnus Erlendsson, the Norse-descended Earl of Orkney who was martyred after an unsuccessful battle with a rival chieftain in the early 12th century, and where miniature Viking ships still cap the post office lintel, Donna Heddle had no doubt the connection went considerably deeper than mere marketing.与此同时,在柯克沃尔市中心那座砂岩建造的罗马式大教堂里,存放着诺尔斯世袭的奥克尼伯爵圣·马格努斯·厄林德孙(St. Magnus Erlendsson)的遗物,他在12世纪初被一个敌对的高地领主击败,后被册封为圣人,在这里的邮局门楣上,至今还有维京人的船只造型。在唐娜·黑德尔(Donna Heddle)看来,跟维京的关联绝对不只是市场营销那么肤浅。As the director of the Center for Nordic Studies, Dr. Heddle sees evidence of Norseness almost everywhere: in the Orkney dialect that puts its prepositions at the end of sentences; in a concept of social justice that emphasizes egalitarianism and spurns status or rank; in the fact, she said, that 66 percent of Orcadians’ DNA is Norwegian. And just as the Nordic presence helps explain the separate sense of identity that Scots feel from the English, so too does it explain the separate identity that Orcadians feel from mainland Scots. “Vikings are very sexy now,” she said. “But for us it’s more than that. You can see it in our knitting patterns and our sailing skills and in the can-do attitude. This is a living legacy.”作为北欧研究中心(Center for Nordic Studies)主任,黑德尔士能在每个角落找到诺尔斯文化的痕迹:将介词放在句子最后的奥克尼方言;强调平等主义、摒弃尊卑或等级的社会正义观念;还有,她说奥克尼人有66%的挪威人基因。北欧特征让苏格兰人对英格兰产生了身份认同上的隔阂,同样也让奥克尼人跟苏格兰大陆有了距离感。“维京人现在很时兴,”她说。“但对我们来说不是那么简单。在我们的编织图案、我们的航海技巧、我们的进取心里都能看到。这是一份鲜活的遗产。”Living, but also dead. After Kirkwall, we drove across windswept hills and muddy farmlands, before arriving at Orphir and the archaeological remains of Earl’s Bu. According to the medieval Orkneyinga saga, the nearly 1,000-year-old site was home not only to a round church built by Magnus’s murderous cousin Hakon, but also to a grand drinking hall, or bu. Like most Viking drinking halls, it was the scene of quite a lot of violence (proximity to a church came in handy; the brawlers could slip next door to repent of their drunken behavior, and, consciences cleansed, get back to guzzling mead). Maybe it was the film in the modest visitor center that recounted how one drunken slight had unleashed a massacre at the hall, or perhaps we had watched too much of “Game of Thrones,” but as David and I walked about the lonely ruins of the stone church (a third of its curved walls still standing), I suddenly found myself charging him with an imaginary battle ax. After a brief but virtual bloody fight, we collapsed on the grass in giggles.鲜活的,但同时也是死的。离开柯克沃尔,我们驶过呼啸的山间和泥泞的田野,来到奥弗尔以及“伯爵酒廊”(Earl#39;s Bu)考古遗址。据中世纪的《奥克尼伯爵萨迦》(Orkneyinga saga)记载,这个有将近一千年历史的遗址,不仅包括马格努斯的那个残暴的堂兄弟哈孔(Hakon)所建的一座圆形教堂,还有一座宏伟的酒廊,也就是bu。和大多数维京酒廊一样,这里发生过不少暴力事件(离教堂这么近还是有好处的;斗殴者可以溜到隔壁去忏悔他们的酒后行为,涤净灵魂后,回去继续痛饮蜂蜜酒)。可能是因为我们在简朴的游客中心看了一部电影,讲到一句酒后的恶语导致一场酒廊大屠杀的事,或者就是我们看了太多的《权力的游戏》,总之当戴维和我来到一片萧瑟的石头教堂废墟(它的弧形墙壁尚存三分之一)时,我突然提起一把空想的战斧朝他冲了过去。经过一场短暂但按设想应该相当血腥的打斗,我们咯咯笑着瘫倒在草地上。All that Viking history will do that to you. There are similar archaeological sites all over Orkney, so we had plenty of opportunities to perfect our re-enactment skills. At Maeshowe, a grass-covered mound that encases a Neolithic tomb marked up with 12th-century Norse Runes, the sheep that stood between us and the burial chamber fell to our raiding swords. At the Brough of Birsay, accessible only by foot during the few hours when the tides recede, we sweated in the chamber marked the Viking sauna. But there was no fantasy involved at the nearby Barony Mill, where Brian Johnston, the miller, grinds bere, a landrace barley, with a flavor more pronounced than wheat. “Many people think the Vikings brought it here,” Mr. Johnston said as he showed us around the 19th-century mill, which is powered by a water wheel. “And the only other place it grows is in Norway.”这么多的维京历史是会有这种影响的。奥克尼到处都是类似的考古遗址,所以我们有的是机会完善我们的历史重现演技。在绿草遍野的梅肖韦(Maeshowe)地下有一座用12世纪的卢恩文字标出的新石器时代古墓,夹在我们和墓穴之间的那只羊,成为我们两个劫匪的刀下鬼。在只有趁着每天退潮那几个小时步行前往的赛镇(Brough of Birsay),我们在一个标着维京桑拿浴场的洞穴里出了点汗。然而附近的男爵磨坊(Barony Mill)是个没什么幻想的地方,磨坊主布莱恩·约翰斯顿(Brian Johnston)在那里磨bere,一种味道比小麦还要鲜明的地方品种大麦。“很多人认为它是维京人带来的,”带我们参观这座19世纪水车磨坊的约翰斯顿说。“除了这里之外,只有挪威能种这种麦子。”There would be more culinary connections on the Shetland Islands. We landed early in the morning on the main island after an overnight ferry. Waiting for a cafe to open, we prowled the industrial-looking buildings and still-closed sweater shops in Lerwick, the capital and Shetland’s only real town. Once suitably caffeinated, we returned to Jurgen and headed south. Shetland is almost entirely treeless, with a terrain that veers mainly between the barren and the bleak, but is adorably dotted with the tiny ponies that take their name from the place. Rocky soil and near constant wind explain why the local diet is almost entirely lacking in fresh fruit and vegetables. But even that lack can only partly explain the peculiar dish known as reestit mutton.烹饪上的联系,在设得兰群岛上体现得更为明显。经过彻夜的轮渡,我们一大早在主岛登陆。在设得兰的首府、也是唯一的正经城镇勒维克,我们趁着等待一家小餐馆开门的当口,在工业味十足的建筑和还没开门的毛衣店之间闲逛了一会。在摄入适量咖啡因后,我们立刻跟于尔根会合,向南进发。设得兰是个几乎没有树的地方,整个地貌不是贫瘠就是荒凉,但期间点缀着几匹可爱的小马,那是当地特有的设得兰矮种马。多石的土壤和几乎永远不停的风解释了当地的饮食特征——基本上不存在新鲜水果和蔬菜。但即使这种匮乏也不足以完全解释为什么会有“房椽羊肉”(reestit)这么奇怪的菜。“No, you wouldn’t expect to find this in a restaurant,” said Marian Armitage, the author of “Shetland Food and Cooking,” as she sawed off a few rocklike chunks of a fossilized slab of meat in her kitchen, where we had come to learn about the local cuisine. “Unless they were trying to do something quirky.” Through the windows of her enclosed porch, I could just make out the ruined walls of Jarlshof, another Norse settlement, in the distance. Ms. Armitage fried a bit of the mutton in a pan, and explained the process for making it: Raw meat was salted in brine, then hung from the rafters of the house, preferably over a peat fire, so that the smoke seasoned the meat. I put a bite in my mouth: Quirky was definitely one word for it. The mutton was fatty, salty and tasted, well, rotten. “Just what you want,” David said, “after a long day at sea.”“这东西在餐馆里吃不到的,”《设得兰食物与烹饪》(Shetland Food and Cooking)作者玛丽安·阿尔米塔奇(Marian Armitage)一边跟我说,一边在一块化石般的肉上切下几个硬梆梆的肉块,我们到她的厨房来是要学做当地的美食。“除非他们是有了什么离奇的想法。”从她家的包窗门廊往外看,隐约能看到远处的一些断壁残垣,那是雅尔邵夫(Jarlshof),另一座诺尔斯殖民地。阿尔米塔奇把一些羊肉放到锅里煎,并跟我们介绍这种肉的制作工艺:生肉放在海水里腌一下,然后挂在屋内的木椽上,最好下面用泥煤烧火,这样可以给肉加入烟熏味。我吃了一口:说离奇绝对是合适的。肉味肥肥的,很咸,像是……呃……腐烂的味道。“嗯,在海上辛苦了一整天,”戴维说。“回来当然就想吃这个。”Still, I was thrilled to eat it. A couple of years earlier, I had tried something similar in the Faroe Islands, an archipelago in the North Atlantic Ocean, about halfway between Norway and Iceland, where they make raest, which is raw mutton hung to air-dry in open huts for months, without the benefit of smoke or salt. Surely, I asked Armitage, raest and reestit were versions of the same dish, and evidence of a Nordic connection? “Ah no,” she said. “For that you’d be wanting vivda.” It turns out that Shetlanders once ate the exact same preparation — and called it by the Norse word for leg meat— until salt became more widesp in the islands.然而我还是很激动的。几年前在法罗群岛——北大西洋上一个大约在挪威和冰岛中间的地方,我试过一种类似的东西,那里的人会做半干风肉(raest),就是把生羊肉挂在通风的小屋里,在没有烟熏或盐渍的情况下风干几个月。于是我就问阿尔米塔奇,半干肉和房椽肉肯定是同一道菜的两个版本,并且是一种北欧亲缘的据?“不对,”她说。“你说的这个应该是vivda。”原来设得兰人曾经也有完全相同的一种做法——只是用了诺尔斯语“腿肉”一词来称呼它——后来盐在岛上普及起来以后,就不这么吃了。After lunch, we turned around (“Snu rundt,” Jurgen said) and headed back north. We passed helpful signs that translated the islands’ Old Norse geographic names into English (“Tingwall, Field of the Parliament”) and stopped, incongruously enough, at a fjord-side food truck for pulled pork sandwiches. It required two more ferries, but we finally arrived in Unst, the northernmost of the Shetland Islands, and hence, the northernmost in Scotland.午饭后,我们调头(“Snu rundt,”于尔根说)向北行驶。一路上有一些很有帮助的路牌,把岛上那些古诺尔斯语地名翻译成了英语(“Tingwall,议会之地”),最后我们很不合时宜地在峡湾边的一辆小吃车前停了下来,吃了个手撕猪肉三明治。接着我们又乘了两趟轮渡,终于来到设得兰群岛最北端、也就是苏格兰最北端的安斯特岛(Unst)。Unst has a higher density of rural Viking sites than any place else in the world, including Scandinavia, with 60 longhouses on a 46-square-mile island. For our first stop, at Hamar, we skirted some curious sheep and a watchful bull to walk among the low, grass-carpeted walls of one (David was saved from another re-enacted vanquishing only because the preponderance of dung at our feet made things especially messy.) From what would have been the front door, I gazed down the length of the shimmering fjord, before I looked down to find the fragments of a broken beer bottle. The idea that local teenagers might use this ancient home as a hangout for drinking, flirting and communing with their Viking past pleased me.安斯特的维京乡村遗址是全世界——包括斯堪的纳维亚——最密集的,在这个46平方英里的岛上有60座长屋(longhouse)。上岛后的第一站是哈马尔(Hamar),我们绕过一群好奇的羊和一头警惕的公牛,沿着其中一座长屋留下的矮墙走了走,墙上长满了情操(这次戴维躲过了一场被敌人征的历史戏,因为脚下到处是粪便,打起来会很难看。)站在应该是房屋正门的地方,我俯瞰着波光粼粼的峡湾,然后低头,看到一堆啤酒瓶碎片。想到本地的孩子也许把这座古老的宅邸当成了饮酒聊天、调情、和自己的维京过去联络的场所,我感到很欣喜。But at the Skidbladner, a reconstructed Viking ship up the road, the volunteer who showed visitors around had a much more prosaic explanation for how past and present came together: economic necessity. Clad in a woolen dress fastened with brooches that approximated what a Viking woman would have worn once she was back on dry land, the volunteer divided her time between welcoming visitors to the site and doing a bit of nalebinding, a Nordic form of needlework that predates knitting. As she showed us around the Skidbladner, a full-size replica of a ship found in a Norwegian Viking burial mound in the 19th century, she told us about the Royal Air Force base that once formed the basis of Unst’s economy. “But they shut that down some years back, and that left a terrible hole,” she said. “Viking tourism is meant to fill it.”但是在斯基德普拉特尼(Skidbladner)——路边的一艘复刻版维京船,一位志愿导游对往昔与当下的交汇持有一个更乏味的解释:经济所需。志愿者身穿一件羊毛裙,上面扣着饰针,这大概就是回到陆地上的维京女人的打扮,她一边招呼着访客,一边手上还干着针织活,这种北欧式的单针环织是比棒针环织更古老的技艺。她带我们参观了斯基德普拉特尼,这是一艘19世纪在一座挪威维京墓穴中发现的船的全尺寸复制品,她说安斯特的经济基础曾经是皇家空军基地。“但是几年前他们关闭了基地,这就留下了一个可怕的窟窿,”她说。“维京旅游就是打算用来填补它的。”We were back to the same question, with little of Scottish territory left. Luckily, just as we neared Shetland’s northern edge, we spied Valhalla. It looked more like a warehouse than the Norse god Odin’s grand hall for fallen warriors, but that may have been because on Unst at least, Valhalla is a craft brewery. The name wasn’t the founder Sonny Priest’s idea. “The Viking thing has been done to death, so I was dead against it,” he said, but more prescient minds on the regional council prevailed. These days, Mr. Priest sells his Old Scatness (named after a Shetland Viking settlement) and Simmer Din (from the Shetland phrase for summer’s long twilight) ales as far as Glasgow and Oslo.眼看已经快到苏格兰国土的尽头,我们又回到了最初的问题上。幸运的是,就在我们即将到达设得兰北端时,我们发现了瓦尔哈拉(Valhalla)。它看上去更像个仓库,而不是诺尔斯神奥丁为阵亡将士准备的灵堂,不过那可能是因为,至少在安斯特,瓦尔哈拉是一家精酿酒厂。这个名字不是创始人桑尼·普利斯特(Sonny Priest)想出来的。“维京那一套已经被用滥了,所以我是很反对的,”他说,但他输给了地区委员会里的一些比他更有远见的人物。如今普利斯特的Old Scatness(因设得兰一处维京殖民地遗址而得名)和Simmer Din(设得兰人用这个短语形容漫长的夏日暮光)牌爱尔啤酒远销至格拉斯哥和奥斯陆。He wasn’t sure what to make of his ancestors’ past. “When I was a kid, the ties to the Norse felt stronger,” he said as he stopped to stick his nose in a bag of hops. “There were all these words we used, and the whalers would take our men because they knew our seafaring skills went back to them. Now sometimes I think it’s just for the tourists. But everybody in Shetland is still proud of their Viking heritage.”他不知道该如何看待自己祖先的历史。“在我小时候,跟诺尔斯文化感觉要更亲近一些,”他话说一半,低头闻了闻一袋啤酒花。“那时候我们在用很多这种词,捕鲸的会来雇我们的人,因为他们知道,我们的航海技巧是祖上传下来的。现在呢,有时候我觉得只是给游客看的。但是维京传统依然是让每一个设得兰人很自豪的东西。”In the end, neither its Viking past nor its imagined Nordic future would be strong enough to sever Scotland from England. But at our final stop, David and I could see why it came close. After hiking through the heather at Saxa Vord, we arrived at the northernmost cliff on Shetland’s most northerly inhabited island. To the east, some 200 miles in the distance, was Norway; to the north, past the rocky outcrop of Muckle Flugga, was the Arctic. We watched the sun set, then got back in the car. “Reisen slutt,” Jurgen said. It was, as he said, journey’s end.到头来,无论是那段维京岁月,还是想象中的北欧未来,都不足以让苏格兰跟英格兰一刀两断。但是在我们的最后一站,戴维和我终于看到,为什么分裂差一点就成功了。在设得兰群岛中最北的一个有人烟的岛上,我们徒步走过萨克撒-沃德(Saxa Vord)的石楠花丛,来到北边的海崖。往东200英里是挪威;往北越过马克尔-弗拉加(Muckle Flugga)就是北极。我们看了日落,回到车中。“Reisen slutt,”于尔根说。没错,这就是此行的尽头。 /201512/414129内蒙古医学院附属医院治疗宫颈糜烂多少钱 Eating with a fork instead of a spoon can help you lose weight, new research suggests.最新研究显示,吃饭时用叉子不用勺,有助减肥。A study by the University of Florida found that using a fork and eating from smaller, less fancy, and even paper plates will help prevent overeating.美国佛罗里达大学的一项研究表明,吃饭时用叉子,或者用小一点的、不那么花哨的盘子,甚至用纸盘子,都能防止吃得过多。It also claims that putting mirrors in your dining room will help weight loss because they actually make junk food taste worse.研究还表明,在餐厅放置镜子也有助于减肥,因为镜子能使垃圾食品的口感下降。The researchers asked 185 undergraduates to choose chocolate cake or a fruit salad and evaluate the taste. Those who ate them in a room with a mirror scored the taste of the junk food lower than those in a room without one, but it had no effect on the fruit salad.研究人员让185位大学生在巧克力蛋糕和水果沙拉中选择一种食用,并对它们的口感做出评价。在测试垃圾食品的口感时,有镜组比无镜组的食用口感差,而水果沙拉的口感未受到镜子的影响。Lead scientist, Dr Ata Jami of the University of Central Florida, said: #39;A glance in the mirror tells people more than just about their physical appearance.中央佛罗里达大学的阿塔·杰米士是研究小组的带头人。他说:“镜子告诉人们的可不止是体态外貌。”#39;It enables them to view themselves objectively and helps them to judge themselves and their behaviors in a same way that they judge others.#39;“镜子使人们可以从一个置身事外的角度观察自己、评价自己,就像他们观察别人、评价别人时那样。”The mirrors were found to push the subjects to compare and match their own behaviours with accepted social standards.该研究发现,镜子能促使受试者用普遍的社会标准来衡量自己,并用它规范自己的行为。The study#39;s authors believe it proves that people don#39;t want to look in the mirror when they feel that they are now adhering to those social standards.研究者认为,这足以明:当人们觉得自己的行为已经符合社会标准的时候,他们就不会想去看镜子了。When they do look in the mirror, feelings of discomfort and failure are enhanced. Therefore, the presence of the mirror induces a discomfort and lowers the perceived taste of unhealthy food.而当他们吃着垃圾食品,想要看镜中的自己时,不适感和挫败感就增强了。这时候,镜子的存在引发了人的不适,降低了垃圾食品的口感。But, this is only the case if the person selects the food they are eating because they are responsible for that choice.但是,只有当人们自主选择食物时,这个规律才会奏效,因为他们要为自己的选择负责。The study suggests that mirrors be placed in dining rooms and other eating spaces so people will start eating more healthily因此该研究建议在餐厅等用餐地点放置镜子,促使人们吃得健康些。 /201601/420291乌兰察布妇幼保健人民中医院治疗肛周囊肿多少钱

呼和浩特治疗性功能障碍最好的医院5.Ugliness is Immoral5.丑陋等于邪恶In almost every Disney movie the primary antagonist is portrayed as physically unattractive, encouraging children to associate this character trait with evil. Female characters are particularly subjected to this treatment, all having at least one of the ;Big Three; of Disney villain characteristics: being fat (Ursula in ;The Little Mermaid;), old (The Old Woman in ;Snow White;) or hideously ugly (The Ugly Stepsisters in ;Cinderella;). The bottom line is that Disney openly preaches that attractiveness is synonymous with both morality and happiness. Disney villains are often portrayed as insecure about their appearance, which then causes them to take it out on younger, slimmer, better-looking characters. For example the villain of ;Snow White; is obsessed with being the ;fairest of them all;, and the ugly stepsisters bully and abuse innocent beautiful Cinderella.几乎每一部迪士尼电影中的大反派都长得穷凶极恶,鼓励小朋友们将这样的角色与邪恶联想在一起。尤其是女性角色,至少符合迪士尼反派角色的;三大特点;中的一点:身形彪悍(《小美人鱼》中的厄休拉),年老(《白雪公主》中的老妇人)或者长相其丑无比(《灰姑娘》中丑陋的继)。总而言之,迪士尼的观点是长相迷人就等同于道德高尚和幸福美满。迪士尼的反派们对于他们自己的相貌都很没有自信,他们因此嫉妒年轻、苗条、美丽的主角们并且拿她们出气。例如《白雪公主》中的皇后一直沉醉在成为;世界上最美丽的人;的美梦中,还有丑陋的继虐待美丽天真的灰姑娘。4.Beauty is Moral4.美丽等于道德高尚The film ;Beauty and the Beast; works on the pretence of ;looks don#39;t matter;. However a closer look at the plot structure reveals this as a false front. In the climax of the film the beast transforms back into a handsome human form, thus allowing him to live happily ever after with the equally attractive Belle. This totally contradicts the film#39;s supposed message of ;looks don#39;t matter;, because if that were true, why is the transformation needed? ;The Hunchback of Notre Dame; also does this with the main character being physically deformed. However, the message is again twisted when a new handsome character in the form of Captain Phoebus is introduced to marry Esmerelda instead of the protagonist, who of course is not worthy of her because of his ugliness.电影《美女与野兽》从表面上来看在宣扬;外表不重要;的观点,可是仔细再看情节,我们就会发现这只是个假象。在电影的高潮部分,野兽变回了英俊潇洒的王子,才使他与同样美丽端庄的贝尔可以幸福快乐地生活在一起。这就完全否定了电影之前设定的主题思想,如果外表真的不重要,为什么要让野兽变回王子呢?电影《钟楼怪人》也是如此,虽然主角是一个身体畸形的驼背,但是,主题思想再一次扭转,艾斯梅拉达没有嫁给驼背的加西莫多,而是爱上了英俊潇洒的侍卫队队长菲比斯,很显然,这是因为加西莫多太丑了配不上她的缘故。3.Satanic Imagery3.恶魔形象Although perhaps something of a controversial entry, visible evidence exists which suggests Disney uses subtle themes of Satanism in their films. For example, the beast of ;Beauty and the Beast; is portrayed as a horned creature with fangs, resembling a traditional image of Lucifer. Philoctetes in ;Hercules; is also displayed in this form, with horns and cloven-feet. The most bizarre, albeit most controversial case is perhaps in Disney#39;s adaptation of ;The Lion, the Witch and the Wardrobe;. It has been argued that eight-year-old Lucy#39;s meeting with Mr Tumnus involves a subtle theme of paeodophilia: the stranger (incidentally portrayed with goat legs and horns) persuades Lucy to visit his home before putting her to sleep by playing lullabies on his flute. The next thing we know, Lucy wakes to find Mr Tumnus crying and saying that he has ;done something very bad;: in the context of the story Tumnus betrayed Lucy to the White Witch. Despite the evidence of a darker theme, many critics of the theory have suggested the sequence simply represents the consequences of children trusting strangers.或许这一点有些争议,但是有明显据表明恶魔崇拜的主题思想在迪斯尼电影中微妙地存在着。例如,《美女与野兽》中的野兽是一个口生尖牙,头长利角的怪物,这与传统的撒旦形象非常相似。《大力士》中的菲罗克忒忒斯也是长着犄角和双蹄的形象。令人不解的是,《狮子、女巫和魔衣柜》或许是迪士尼改编的电影中最富争议的一个。人们对于八岁的露西与图姆纳斯先生见面的情节是否影射恋童癖而争论不休:这个陌生人(顺便说一下,他是个羊怪)说露西去参观他的家,然后把她放在床上,还给她吹摇篮曲哄她入睡。接下来的情节我们都很熟悉,露西醒来后发现图姆纳斯先生正在哭泣,他说他;做了很坏的事情;:通过故事的来龙去脉,我们得知原来图姆纳斯把露西出卖给了白女巫。许多坚持这种推测的批评家们认为,不管是否据确凿,这个情节很容易误导孩子们轻易相信陌生人。2.Everything is Fluffy2.世间万物皆美好Now many would feel inclined to offer Disney some leniency here, given that it is targeting children with its films, but many others would condemn them for sugar-coating themes of death and deceit with fluffy singing animals and perfect happy endings. Take ;The Lion King; – a film based on William Shakespeare#39;s classic tragedy ;Hamlet;. Disney altered the original ending of the play, in which many of the central characters die, and replaced it with a perfect triumph of good over evil, firmly rendering the plot meaningless and holding up a giant middle finger to Shakespeare in the process. However ;Hamlet; isn#39;t the only literary masterpiece Disney have butchered on screen. Take the plot structure of Hans Christian Anderson#39;s ;The Little Mermaid; and you will find another drastically altered ending. In the original, Ariel does not marry the prince and is forced to kill him to regain her mermaid tail, but she cannot perform the deed and instead dies sadly.在大多数人看来,迪士尼电影是为孩子们量身打造的,这一点让迪士尼电影给人们留下了温馨祥和的印象。但是另一些人谴责迪士尼电影在粉饰太平,他们用会唱歌的毛绒动物和超乎完美的大团圆结局来掩盖死亡主题。《狮子王》——是一部取材于威廉·莎士比亚的经典悲剧《哈姆雷特》的电影。迪斯尼更改了原著的结局,并且大肆宣扬原来的剧情毫无意义,这种行为简直是对莎士比亚的侮辱。原著以许多主角死去为结尾,而《狮子王》的结尾是一场正义战胜了邪恶的完美胜利。然而《哈姆雷特》并不是唯一的一部惨遭迪士尼改编的文学名著。《小美人鱼》的故事结构来源于汉斯·克里斯蒂安·安徒生创作的《海的女儿》,你会发现又是一个改写得面目全非的结局。原著中,爱丽儿并没有嫁给王子,她要想变回美人鱼就必须杀死王子,可她不忍心这样做,最终化为泡沫。1.Racial Stereotypes1.种族偏见Overall the most blatant and unambiguous message that Disney teaches any child is how to discriminate between races. The crows in ;Dumbo;, released in 1941 when racism against African Americans was more acceptable, is probably the most blatant example. The language and attire of the birds are clearly intended to mock African Americans. The characters exist only to help the white protagonist, and contribute mainly comedic value amongst white audiences, adding insult to injury on the aly glaring stereotype. Another example is the Chinese cat from ;The Aristocats;, who sings about fortune cookies (invented in America incidentally) with an almost unintelligibly Asian accent. Disney has been blasted time and again for racism and yet it continues to perpetuate glaring stereotypes.有确凿的据显示迪士尼在教孩子如何区别对待不同种族。电影《小飞象》在1941年上映,在当时的美国主流社会中,对非洲裔美国人仍然存在种族偏见,影片中的乌鸦形象就是典型例子。从鸟儿们的语言和装束上来看,很明显是对非洲裔美国人的一种嘲弄。这些角色存在的意义仅仅是在帮助小飞象的过程中为白人观众制造喜剧气氛,这使种族偏见在美国更加根深蒂固。还有一个例子是《猫儿历险记》中有一只中国猫咪操着夸张的亚洲口音唱了一首有关幸运饼干的歌曲(幸运饼干是一种美式的亚洲风味的脆饼)。迪士尼因为在电影中宣传种族偏见而屡次遭到炮轰,可是这种行为在迪士尼电影中依旧屡见不鲜。翻译:高陈影 编辑:陈艳冲 来源:前十网 /201509/400143 呼和浩特市妇科呼和浩特早泄怎么治疗



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