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成都赫拉美半永久培训电话地址泸州洗眉毛一般多少钱Today, a successful single woman who falls for a man making less money than she does or not sharing her career ambition may face not-so-subtle disapproval from friends and family. One patient of mine reported being told, #39;I#39;m surprised you haven#39;t found someone who is more your equal.#39; Another felt insulted when a trusted friend asked, #39;Are you sure you wouldn#39;t be happier with a man who is making more money than you?#39;如今,成功单身女性爱上一位挣得比自己少或不能分担其事业进取心的男人可能会遭到来自亲朋好友的明确反对。我的一位患者据称就曾被这样告知:“你没能找到一位跟你更相配的人,我感到很惊讶。”另一位则在其可信赖的朋友这样发问时感到受了侮辱:“你确定跟挣得比你多的男人在一起不会更幸福吗?”These women were in love with solid, supportive guys who shared their values -- men who weren#39;t driven by money. They ded the concerned whispers from friends or family who persisted in believing that they were #39;marrying down.#39;这些女性都跟那些踏实可靠、能给予自己持并与自己持有相同价值观的男性相爱了――他们爱上她们,不是因为钱。这些女性害怕听到来自朋友或家人关切的窃窃私语,那些亲朋好友坚信她们是在“下嫁”。As a couples therapist, the notion of marrying down strikes me as impossibly antiquated. It#39;s right out of the #39;Downton Abbey#39; era, when suitable marriages were entirely a matter of matching people according to social class and fortune -- hence the panic when Lord Grantham#39;s youngest daughter marries the family#39;s Irish chauffeur.作为一名婚姻治疗师,有关下嫁的说法让我觉得难以置信地过时。那完全是《唐顿庄园》(Downton Abbey)时代的产物。在那样的年代,合适的婚姻完全是根据双方的社会地位和身家财富而将人们凑配在一起――因此,格兰瑟姆勋爵(Lord Grantham)才会因为小女儿嫁给了家里的爱尔兰司机而痛苦不已。The notion that women should #39;marry up#39; endured well past the heyday of the English gentry, and the most successful bwinners were considered the most desirable mates. Well into the 20th century, relatively few high-paying jobs were available to women, so for the most part, women went to college to get their M.R.S., or maybe to land the kind of work that would put them near the right professional men.女性应该“高攀”的观念在经历了英国乡绅贵族的鼎盛时期后依然深入人心,最成功的养家者会被视为最令人满意的伴侣。在进入20世纪很久以后,提供给女性的高薪工作相对来说仍比较少,所以大多数情况下,女性读大学是为了在学校结识男性然后嫁为人妇,或者是为了在毕业后能找到一份可以使自己能接近合适职场男性的工作。Today, more women than men are graduating from college and graduate school. Pew Research, which has been compiling data on the topic over the past 50 years, reports that for the first time, #39;the share of couples in which the wife is the one #39;marrying down#39; educationally is higher than those in which the husband has more education.#39; In 2012, the report notes, 27% of newlywed women married a spouse with less education, while only 15% of newlywed men did the same.如今,从大学和研究生院校毕业的女性人数超过了男性。皮尤研究中心(Pew Research)在过去的50年间一直在搜集编汇与该主题相关的数据,其报告称,有史以来第一次出现“妻高夫低”的婚姻比例超过了“夫高妻低”的婚姻比例――前者指妻子学历更高而委身‘下嫁’的情况,后者则指丈夫学历更高。”2012年,该报告指出,27%的新婚女性都嫁给了学历比自己低的配偶,而只有15%的新婚男子娶了学历比自己低的伴侣。More education doesn#39;t necessarily lead to greater earning power, but in most U.S. cities, single, childless women under 30 now make more money than their male peers, according to analysis by Reach Advisors, a research firm. Across all social classes, women contribute 47% of household income, reports the Carsey Institute at the University of New Hampshire. And most strikingly, Pew has found that in 24% of marriages, women earn more than their husbands, up from 6.2% in 1960.受教育程度更高并不一定会造就更强的赚钱能力,但据研究公司Reach Advisors的分析表明,在美国的大多数城市,单身无子、年龄在30岁以下的女性比同龄男性挣得更多。新罕布什尔大学(University of New Hampshire) 卡西学院(Carsey Institute)的报告称,纵览所有的社会阶层,女性给家庭收入带来的贡献为47%。而皮尤研究发现,最令人震惊的是,在24%的婚姻中,女性都比她们的丈夫挣得更多,这一数据比例在1960年仅为6.2%。For most strong, successful women, the alpha male of old isn#39;t the best match. I have seen in my practice what happens when two dominant personalities engage in power struggles: The alpha male will assume that his priorities should dominate, while the alpha woman will assert hers. These are the most difficult duos to treat.对于大多数强势的成功女性而言,有点大男子主义的年长男性并不是最佳伴侣。在婚姻咨询业务活动中,我已目睹了当两位有着配性人格的男女卷入权力斗争时会发生什么:大男子主义的丈夫将认为他优先考虑的事应该占主导地位,而大女子主义的妻子则会坚持她自己的考量。这样的夫妻问题是最难解决的。Over the past 30 years, says Stephanie Coontz, director of public education at the Council on Contemporary Families at the University of Chicago, #39;egalitarian values have become increasingly important to relationship success.#39; Confident, dominant women need collaborative partners more than they need traditional bwinners. They need men who aren#39;t threatened by their strength and will support their goals.芝加哥大学(University of Chicago)现代家庭理事会(Council on Contemporary Families)公共教育主管斯泰芬尼#12539;库茨(Stephanie Coontz)说,在过去30年间,“对于一段恋情是否成功,平等的价值观已变得越来越重要。”自信、占主导地位的女性更需要的是能够配合她、与之分工合作的伴侣,而不是传统的养家者。她们需要的男性是这样的:不会被自己的强势所吓倒,而且会全力持她们的目标。These men are secure enough to follow as well as lead. They value partnership, parenting and pulling their own weight. They work but aren#39;t workaholics. The problem is family members and friends who sometimes devalue such men because they don#39;t adhere to traditional standards of masculinity -- standards that should no longer apply.这些男性有足够多的安全感,既能显身于人前又能委身于人后。他们珍视伴侣关系和养育子女的职责,并能尽到自己的责任。他们努力工作,却不是工作狂。但问题是,亲朋好友有时会低估这样的男人,因为他们无法达到传统的男子气概标准――这种标准不该再适用于今天。What high-achieving women need are men strong enough to support their achievements, contribute to the household in services and/or money, and be loving partners. A strong woman will reap the benefit of this kind of respectful, responsible beta man; he will be more flexible, more nurturing and more willing to share the responsibilities of family life.建树颇高的女性所需要的,是男性可以足够强大,强大到能持她们取得成就,在务与/或金钱方面,还能对整个家庭有所贡献,而且得是一位充满爱意的伴侣。女强人将从这种恭敬、负责的“小男人”身上获益。他会更灵活、更会悉心照料人而且更愿意承担家庭生活的责任。Attitudes are slowly changing. According to Pew, only 28% of respondents agreed that it is #39;generally better for a marriage if the husband earns more than the wife.#39; But we still have a long way to go: Economists at the University of Chicago School of Business found in 2013 that women are leery of making more than their husbands do and may even choose to stay out of the workplace if they think they#39;re in danger of earning more than their husbands.人们的态度正在慢慢发生改变。据皮尤研究中心称,只有28%的受访者认同这样的观点――“如果丈夫比妻子挣得更多,这对一段婚姻来说一般会更好。”但我们仍有很长一段路要走:芝加哥大学商学院(University of Chicago School of Business)经济学家在2013年发现,女性对于自己比丈夫挣得多的情况非常小心,在觉得这种状况做会让自己陷入困境时,她们甚至会远离职场。Today#39;s romances suggest that growing numbers of smart women and men are marrying neither up nor down -- they#39;re just marrying the right person.现今的爱情故事表明,越来越多的聪慧女性和睿智男性都不是“低就”,也不是“高攀”――他们只是选择了和一个对的人步入婚姻。 /201405/296905成都/伊莱恩半持久妆容好吗 During a cocktail party in Robert Galbraith’s (a.k.a. J. K. Rowling’s) endlessly entertaining detective novel “The Silkworm,” the publisher Daniel Chard gives a toast in which he observes that “publishing is currently undergoing a period of rapid changes and fresh challenges, but one thing remains as true today as it was a century ago: Content is king.”罗伯特·加尔布雷思(Robert Galbraith,又名J·K·罗琳[J.K. Rowling])的侦探小说《蚕》(The Silkworm)非常有趣,书中写到了一次鸡尾酒会,席间出版商丹尼尔·查德(Daniel Chard)做了致辞,说:“出版业目前正在经历巨变与崭新的挑战,但是有一件事百年至今从未改变:内容为王。”Coming from an obscure, midlist, mystery author named Robert Galbraith such a statement might go unnoticed. But when the same passage is written by J. K. Rowling, author of the Harry Potter series and one of the most successful authors of all time, the words cannot help having a far greater impact.这样的话若是来自籍籍无名、在书榜上名列中游、名叫罗伯特·加尔布雷思的神秘作家,可能根本不会有人注意。但同样的话如果是由哈利·波特(Harry Potter)系列的作者,也是史上最成功的作家之一J·K·罗琳写下来的,影响力可就大多了。Therein lies the problem and the great joy of this book.问题就在这里,它也是这本书给人带来的巨大乐趣之一。You want to judge “The Silkworm” on its own merit, author be damned. It is, in fact, this critic’s job to do so. But writing that type of blind review in this case, while a noble goal, is inauthentic if not downright disingenuous. If an author’s biography always casts some shadow on the work, here, the author is comparatively a total solar eclipse coupled with a supermassive black hole.你希望以《蚕》本身的价值来评判这本书,不去管作者怎么样。事实上,这是家的责任。但是,在这种情况下,写这种“盲评”,虽然目的是高尚的,但却显得不真诚,至少也是不大可靠。如果一个作家的生平总会在他的作品中投下阴影,在这本书里,这位作家投下的不只是日全食,简直就是一个特大号黑洞。This is especially true because Rowling (let’s stop pretending) makes matters worse (or better) by taking on the world of publishing. Leonora Quine, the dowdy wife of the novelist Owen Quine, hires our hero, the British private detective Cormoran Strike (first seen last year in Rowling’s “The Cuckoo’s Calling”), to investigate the disappearance of her husband. Owen Quine has just written a nasty novel that reveals dark, life-#173;ruining secrets of almost everyone he knows. Owen, his wife tells Strike, is probably at a writer’s retreat. Finding him should be a routine matter.更何况罗琳(还是别用假名称呼她了)还挑战了出版界,这让事情变得更糟(或更好)。本书主角是英国克莫伦·斯特莱克(Cormoran Strike),去年在罗琳的《布谷鸟的呼唤》(The Cuckoo’s Calling)中首度登场;小说家欧文·奎恩的妻子利奥诺拉·奎恩(Leonora Quine)长相俗气,她雇用斯特莱克寻找失踪的老公。欧文·奎恩刚写完一本令人不快的小说,几乎所有熟人的黑暗丑陋秘密都被他端出来了。奎恩太太告诉斯特莱克,欧文可能呆在一个作家的疗养地,寻找他可能会变成常事。But, of course, nothing here is what it seems. When Owen Quine ends up gruesomely slaughtered — in a murder scene ripped from his new novel — Strike and his comely sidekick, Robin Ellacott (think Sherlock and Watson, Nick and Nora, Batman and, well, Robin), enter the surprisingly seedy world of book publishing. They investigate those who were thinly disguised in Quine’s final manuscript, all of whom offer insights into the world of the writer.但是,当然啦,一切都不是表面上看起来的那样。欧文·奎恩最后被残酷地杀害了,犯罪场景正来自他的新小说。斯特莱克和他的漂亮助手罗宾·埃拉科特(Robin Ellacott,他俩的关系就像福尔斯和华生、尼克和诺拉、蝙蝠侠和,那个,也是罗宾)进入了图书出版的世界,这个世界令人惊讶地名声狼藉。他们调查了奎恩最后的手稿中那些几乎没做任何掩饰就提到的人,他们都能让人洞察到作家世界的内部。The suspect pool includes his editor, Jerry Waldegrave (“Writers are different. . . . I’ve never met one who was any good who wasn’t screwy”); his agent, Elizabeth Tassel (“Have you any idea . . . how many people think they can write? You cannot imagine the crap I am sent”); his publisher, Daniel Chard (“We need ers. . . . More ers. Fewer writers”); and the pompous literary novelist Michael Fancourt (“Like most writers, I tend to find out what I feel on a subject by writing about it. It is how we interpret the world, how we make sense of it”).嫌疑人中包括奎恩的编辑杰里·沃德格雷夫(Jerry Waldegrave,“作家们都很不一样……我从来没见过不古怪的作家能写出好东西”);他的经纪人伊丽莎白·塔塞尔(Elizabeth Tassel,“你知不知道……到底有多少人觉得自己能写作?你没法想像人们拿给我什么样的垃圾”);他的出版商丹尼尔·查德(“我们需要读者……更多的读者。更少的作家”);还有高傲的文学小说家迈克尔·范克特(Michael Fancourt,“和大多数作家一样,我也喜欢通过写作某个主题来找出自己对它的真实感受。这是我们阐释世界的方式,是我们为之赋予意义的方式”)。As written by Rowling, “The Silkworm” takes “write what you know” and raises it to the 10th power. Is this crime fiction, a celebrity tell-all, juicy satire or all of the above? The blessing/curse here is that you turn the pages for the whodunit, but you never lose sight that these observations on the publishing world come from the very top. This makes complete escape, something mandatory for a crime novel, almost impossible — but then again, who cares? If you want a more complete escape, pick up another book. Reading Rowling on writing is delicious fun.《蚕》由罗琳创作,是那种“写你熟悉的事情”,然后再把它增加到十级马力的小说。它究竟是一部犯罪小说,还是一部名流曝光,抑或生动的讽刺文学,或者以上皆是呢?这里面的好处/坏处在于,你把它当做一部侦探小说来阅读,但你总会注意到书中充满对出版界的观察,这种观察正来自出版界的顶层。这使得纯粹的消遣——对于一本侦探小说来说所必须提供的——成为几乎是不可能的事情;但是这里问题又来了,谁会在乎呢?如果你想要更彻底的放松,那还是换一本书吧。不过读罗琳谈写作还是很有意思的。Even the title of the novel (and the English translation of the poisoned-pen manuscript) is “The Silkworm” because a silkworm’s life is “a metaphor for the writer, who has to go through agonies to get at the good stuff.” On envy: “If you want a lifetime of temporary alliances with peers who will glory in your every failure, write novels.” On Internet trolls: “With the invention of the Internet, any subliterate cretin can be Michiko Kakutani.” On a literary male writer’s inability to create realistic female characters: “His women are all temper . . . and tampons.” On a writer named Dorcus Pengelly (some of these names are straight out of Hogwarts): “She writes pornography dressed up as historical romance,” but our murder victim still would “have killed for her sales.”小说的名字叫做《蚕》(小说中那本毒舌手稿的名字也是这个),就连这个名字也和写作有关系,因为蚕的一生“是对作家的隐喻,他们经历痛苦去获得好东西”。她谈起嫉妒时说,“如果你希望一生都只能获得暂时的同盟者,这些伙伴们还会对你的每次失败欢呼雀跃,那就去写小说吧。”她谈起互联网上的喧嚣:“有了互联网,随便什么会写几个字的白痴都能当角谷美智子(美国著名家——译注)了。”还有一个无法写好逼真女性角色的男作家:“他笔下的女人都很情绪化……像经前综合征。”关于一个名叫多克斯·潘格利(Dorcus Pengelly,书中有些名字是直接从霍格沃兹学校来的)的女作家:“她写的是伪装成历史浪漫小说的色情文学”,而我们的受害者“会因为她的销量而杀人”。There is even a debate on the merits of self-publishing when Quine’s mistress whines that she’s going the “indie” route because “traditional publishers wouldn’t know good books if they were hit over the head with them.”书中甚至还讨论了自费出版的价值,奎恩的情妇抱怨说自己走上了“独立”的道路,因为“传统出版社不知道什么才是好书,就算好书砸到他们脑袋上也认不出来”。Are these opinions shared by Rowling? Don’t know, don’t care. In the end, despite the window dressing, Rowling’s goal is to entertain and entertain she does. If we can’t forget that she is a celebrity, we’re also constantly reminded that she is a master storyteller. Push aside J. K. Rowling (a gender-neutral pseudonym Joanne Rowling took so that boys would Harry Potter) and judge the book on the merits of Robert Galbraith (a full-fledged male pseudonym with no such neutrality), and “The Silkworm” is still a suspenseful, well-written and assured British detective novel.这些观点罗琳都认同?没人知道,也没人关心。尽管有这些装点门面的东西,罗琳最终的目的还是,她也提供了。如果我们总忘不了她是个名人,那么也应该时常提醒自己,她是讲故事的大师。抛开J·K·罗琳(这是个中性化的笔名,用来代替她的原名“琼尼·罗琳”,好让男孩子也来读哈利·波特)的名气,独立判断罗伯特·加尔布雷思(一个完全是男性化的笔名,并没有做中性化处理)这本书的价值,会发现《蚕》同样是一本充满悬疑、文笔精、彻头彻尾的英国侦探小说。Strike, who lost his leg to a land mine in Afghanistan, is described as a “limping prize fighter,” a man who looms so large, “the room seemed much smaller with his arrival.” Potter fans will want to make a connection between Cormoran Strike and Rubeus Hagrid, the beloved giant in the Harry Potter novels, but such comparisons feel forced. If J. K. Rowling never leaves our minds while ing “The Silkworm,” the world of Harry Potter, to Rowling/Galbraith’s credit, never enters it. We are squarely in the gritty, gloomy and glitzy real world of the Muggles, except maybe when she describes a noisy piece of furniture in Strike’s office as the “farting leather sofa.” For a moment, the er can almost see the sofa coming to life in the halls of Slytherin House.斯特莱克在阿富汗战场上因为地雷而失去了一条腿,被描述为“跛脚的荣誉战士”,一个非常有存在感的男人,“因为他的到来,房间显得小多了。”哈利·波特的粉丝们会希望在克莫伦·斯特莱克和哈利·波特小说里受人喜爱的巨人鲁伯·海格(Rubers Hagrid)找到共同点,但这样的比较感觉很牵强。如果在在阅读《蚕》的时候,J·K·罗琳从未离开你的脑海,那么,值得称道的是,罗琳或加尔布雷思从未让哈利·波特的世界进入这本书。我们完全置身于这个坚实、阴郁、浮华,由麻瓜组成的现实世界里,或许只除了她描写斯特莱克办公室里一件吱嘎作响的家具是“老放屁的皮沙发”。在那一刻,读者可能会感觉斯莱特林学院大厅里的沙发回来了。“The Silkworm” most often feels like a traditional British crime novel albeit set in the present day, complete with eccentric suspects, a girl Friday (Oh, when will they see that they are meant for each other?) and a close friend in the police department whose life Strike saved in the war. But Rowling gives some of the old saws a new spin. Robin, for example, isn’t a longtime friend or ex-lover — she starts out as a young temp Strike first meets in “The Cuckoo’s Calling.”虽然发生在现在,《蚕》几乎可以被视为传统的英国犯罪小说,再加一堆古怪的嫌犯,一个女孩版“礼拜五”(啊,他俩什么时候才能明白他们是天生一对?),一个在警察局的密友,斯特莱克曾在战争中救了他的命。不过罗琳给这些老套路赋予了新元素。比方说,罗宾不再是斯特莱克的老朋友或前女友,她和斯特莱克在《布谷鸟的呼唤》中初遇时是个年轻的临时秘书。Strike himself may at first appear to be something we have seen too often — a brooding, damaged detective, with a life-#173;altering war injury, financially on the brink, who’s recently lost his longtime girlfriend — but there is an optimism to him that is refreshing and endearing. Even though he’s hobbling down the street, often in great pain, “Strike was unique among the men not merely for his size but for the fact that he did not look as though life had pummeled him into a quiescent stupor.”斯特莱克本人一开始可能很像我们经常遇到的那种形象——一个多思、受过伤害的侦探,战争中受的伤改变了他的生活、经济在崩溃边缘,前不久又失去了多年女友——但他身上有一种乐观主义,这非常令人喜爱,也让人耳目一新。尽管他在街上一瘸一拐地走着,时常都很痛苦。“斯特莱克是独一无二的,不仅是因为他的身材,也因为他并不觉得生活一直在打击他,把他打到人事不省。”Strike also shares a trait with many great fictional detectives: He is darn good company.斯特莱克还有一个特点是很多伟大的虚构侦探都具有的:他是个好伙伴。There are musings on fame (Strike is the illegitimate son of the rock star Jonny Rokeby), the media (the book opens with a passing shot at the British phone hacking scandal that engulfed many celebrities, including Rowling), book marketing (Quine’s wife on her husband’s sluggish sales: “It’s up to the publishers to give ’em a push. They wouldn’t never get him on TV or anything like he needed”), not to mention e-books and the digital age of publishing.书中有很多思考,诸如名誉(斯特莱克是摇滚明星约翰尼·洛克比[Jonny Rockeby]的私生子)、媒体(这本书一开头就写了英国电话窃听丑闻,包括罗琳在内的很多名人都身陷其中)、图书市场(奎恩的妻子谈起丈夫的书卖不动:“完全要靠出版商来推动。他们从不让他上电视,或者提供他类似的机会”),当然还有电子书和数字出版时代了。But Rowling saves her most poignant observations for the disappointments of marriage and relationships. The likable Robin is engaged to a pill named Matthew and cannot see, as Strike and the er can, that “the condition of being with Matthew was not to be herself.” When he thinks about his own sister’s marriage and those like it, Strike wonders about the “endless parade of suburban conformity.” His private-eye job of catching straying spouses makes him lament “the tedious variations on betrayal and disillusionment that brought a never-ending stream of clients to his door.” He sees the “willfully blind allegiance” of long-suffering wives and the false “hero worship” of male writers by the women who supposedly love them. When his sister asks Strike if he puts up with his destructive ex-girlfriend “because she’s beautiful,” Strike’s honest answer is devastating: “It helps.”但罗琳最深刻辛酸的观察还要算是对婚姻和恋爱关系的失望。可爱的罗宾和一个名叫马修的讨厌鬼订婚了,但她看不到斯特莱克和读者们所能看出的东西——“她和马修在一起时的状态完全不是她自己。”斯特莱克想起自己姊的婚姻,还有那些有着相似婚姻的人,不禁思忖,这是一条通往“市郊常规生活的漫长队列”。他的寻找失踪配偶的工作让他哀叹“背叛与幻灭是冗长乏味的变奏,为他带来永无穷尽的客户”。他看到长期受苦的妻子们保持着“故意盲目的忠诚”,以及那些声称爱着男性作家们的女人虚假的“英雄崇拜”。他的姊问他能够忍受那冤家前女友是不是“只因为她很漂亮”,斯特莱克的回答诚实而可怕:“的确有帮助”。Do these observations take on more weight when we know that the writer is a superstar female author rather than a semi-obscure male one? I think they do.如果我们知道这些观察来自一位明星女作家,而不是一个几乎没有名气的男作家,会不会觉得它们更有分量?我觉得是这样。The book isn’t perfect. It’s a tad too long, and the suspect interrogations grow repetitive. Sometimes the er feels Rowling may be trying too hard to move away from Hogwarts. The fair amount of swearing reminds one of a rebellious teenager set free.这本书并不完美。它稍微有点冗长,对疑犯的质询愈来愈啰嗦。有时候读者会觉得罗琳过于努力摆脱霍格沃茨。大堆脏话有点像叛逆的青少年好不容易得到自由。Some will also argue that while Harry Potter altered the landscape in a way no children’s novel ever has, here Rowling does the opposite: She plays to form. “The Silkworm” is a very well-written, wonderfully entertaining take on the traditional British crime novel, but it breaks no new ground, and Rowling seems to know that. Robert Galbraith may proudly join the ranks of English, Scottish and Irish crime writers such as Tana French, Ian Rankin, Val McDermid, John Connolly, Kate Atkinson and Peter Robinson, but she wouldn’t overshadow them. Still, to put any author on that list is very high praise.有些人会说,从没有任何一本童书像哈利·波特这样改变了出版界,在这里罗琳做的事正相反,她在努力建设。《蚕》是一本文笔极佳、极具性的读物,以传统英国犯罪小说的面目出现,没有打破任何常规,罗琳似乎也知道这一点。罗伯特·加尔布雷思可能会骄傲地加入塔娜·法兰琪(Tana French)、伊恩·兰金(Ian Rankin)、薇儿·麦克德米德(Val McDermid)、约翰·康诺利(John Connolly)、凯特·阿特金森(Kate Atkinson)和彼得·罗宾森(Peter Robinson)等英格兰、苏格兰和爱尔兰犯罪小说作家的行列,但她不会超越他们。不过,能跻身这些作家的行列已经是很高的荣誉了。The upside of being as well known as Rowling is obvious — sales, money, attention. That’s not what she’s after here. The downside — and her reason for using the pseudonym — is that telling a story needs a little bit of anonymity. Rowling deserves that chance, even if she can’t entirely have it. We can’t unring that bell, but in a larger sense, we ers get more. We get the wry observations when we can’t ignore the author’s identity and we get the escapist mystery when we can. In the end, the fictional publisher Daniel Chard got it right: “Content is king,” and on that score, both J. K. Rowling and Robert Galbraith triumph.随“罗琳”的名气而来的好处是显而易见的——销量、金钱和关注。但这并不是她所追求的。至于坏处——这也正是她使用化名的原因——就是讲故事确实需要一点匿名性。就算无法彻底享有,罗琳也理应获得这样的机会。我们不能忘记她的名气,但从大一点的角度来说,我们读者获得的东西更多。如果我们注意到作者的身份,就会理解到书中观点的讽刺之处;如果我们忘记作者的身份,就能体会到一种避世的神秘感。不管怎样,书中虚构的出版商丹尼尔·查德说得对——“内容为王”,就这一点而言,J·K·罗琳和罗伯特·加尔布雷思都赢了。 /201407/311478简阳市学PCD纹绣多少钱

什邡市飘眉培训学校哪家好江油市韩式半永久化妆培训学校 The Empress. The Hanged Man. The Chariot. Judgment. With their centuries-old iconography blending a mix of ancient symbols, religious allegories, and historic events, tarot cards can seem purposefully opaque. To outsiders and skeptics, occult practices like card ing have little relevance in our modern world. But a closer look at these miniature masterpieces reveals that the power of these cards isn#39;t endowed from some mystical source—it comes from the ability of their small, static images to illuminate our most complex dilemmas and desires.女皇、倒吊人、战车、法官,这些有几世纪历史的肖像和古老的符号,宗教预言,以及历史事件相杂糅,使得塔罗牌显得那样的神秘。对于外行和怀疑论者来说,阅读卡片上的征兆这种神秘主义的行为和现代社会显得格格不入。但是最近的研究表明,卡片上精美的微缩图画所具有的力量并不神秘——那小小的画片本身正具有反映我们内心困惑和欲望的能力。Contrary to what the uninitiated might think, the meaning of divination cards changes over time, shaped by each era#39;s culture and the needs of individual users. This is partly why these decks can be so puzzling to outsiders, as most of them reference allegories or events familiar to people many centuries ago. Caitlín Matthews, who teaches courses on cartomancy, or divination with cards, says that before the 18th century, the imagery on these cards was accessible to a much broader population. But in contrast to these historic decks, Matthews finds most modern decks harder to engage with.和外界所想的不一样,卡片上预言的意思随着时代变迁不断改变,在不同的文化或者不同的人手中也不尽相同,显示出不同的寓意和对现实事件的反映,这也是塔罗牌对于普通人来说不易理解的一个原因。Caitlín Matthews,一个教授纸牌占卜的老师,或者说算命师告诉我们,在十八世纪以前相信塔罗牌占卜的人数比现在多得多,而且和那些古老的塔罗占卜相比,现在的塔罗牌更加不容易理解。 /201408/317560成都培训师培训

成都/素秀国际学校学纹绣整形平眉眉型价格 5-year-old daughter, wanting her father to help her do something.Father: ;I#39;m so tired, if you praise me, I#39;ll Be fresh.;Daughter: ;Lao Zheng!;Dad: ;Hey!;Daughter: ;Your chick looks really nice ah ......;5岁的女儿让老爸帮她做某事。老爸:“爸爸很累啦,你夸我两句吧,你夸我两句我就又有劲了。”女儿:“老郑!”老爸:“哎!”女儿:“你家妞妞长得可真漂亮啊……”江油市半永久培训多少钱甘孜藏族自治州纹绣师资格证

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