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2019年02月21日 22:19:36

Coca-Cola has launched its first major new Cola in nearly a decade: Coke Life. It comes in a green can, with a small leaf logo, and promises to be much healthier than standard Coke.可口可乐公司推出近十年来第一种主要新型产品:可口可乐生命(Coke Life)。它包装在绿色的罐子里,上有小树叶标志。公司承诺,它比标准的可乐更健康。A 330ml can has 89 calories - a third less than the 129 found in standard Coke. That is because, alongside sugar, it is also uses stevia leaf extract from the stevia plant. This naturally very sweet plant contains zero calories. The company hopes that many consumers will not be able to tell the difference between ;green Coke; and normal Coke.330毫升饮料中含有89卡路里,与标准可口可乐相比少了三分之一。这是因为除糖外,它还使用了从甜叶菊植株上提取的树叶。这种天然的甜味植株不含卡路里。可口可乐公司认为,许多消费者不能区分绿色的可乐和普通的可乐。James Quincey at Coca-Cola Europe says: “With Coca-Cola Life, we have innovated to provide consumers with a new option with fewer calories. It complements our existing brands and is well-positioned to meet changing lifestyle trends, providing people with a great-tasting, lower calorie cola sweetened from natural sources.”可口可乐欧洲公司的詹姆斯·昆西昆西(James Quincey)说:“通过可口可乐生命,我们创新性地向消费者提供了低卡路里的新选择。它是对我们现存品牌的补充,并且向人们提供了口味佳,通过自然资源获得甜味实现低卡路里的可乐,在迎合新生活方式的潮流中占据了先机。”The company appears to brush over the fact that the sugar used in standard Coke in the UK is derived from either cane sugar or sugar beet -- both natural sources, grown in fields.可口可乐公司似乎忽视了一个事实,英国标准可口可乐中使用的糖也是从生长在田里的自然资源蔗糖和甜菜中提取的。Also, Coke Life despite being lower calories still contains 22g of sugar -- a quarter of an adult#39;s recommended daily allowance.另外,即使可口可乐生命卡路里更低,但仍含有22克糖,这是一个成年人每天建议摄入量的四分之一。The Telegraph hit the streets of central London to find out whether consumers could tell Coca-Cola Life from normal Coca-Cola, and which drink they preferred. In all, nearly thirty people undertook the taste test, with the majority, especially regular Coke consumers, able to spot they were different drinks.英国电讯报在伦敦中心进行了街头采访,探究消费者能否区别可口可乐生命和普通可口可乐,他们更喜欢哪种口味。近30人参与了测试,其中的大多数,尤其是可口可乐长期消费者,能够发现饮料的不同。 /201408/324869上饶韩美整形美容医院割双眼皮手术多少钱Being bored can spur people’s creativity — partly to escape the horrible, frustrated, and meaningless feeling of boredom — recent studies find.最近的研究发现,无聊可以激发人们的创造力,从而在一定程度上逃离可怕的,令人沮丧的,无意义的无聊感。It could even be true at work.工作中甚至也是如此。Psychologists at the University of Central Lancashire had participants copy numbers out of the telephone book for 15 minutes, while others went straight into a standard creativity task (Mann amp; Cadman, 2013).中央兰开夏大学的心理学家们让参与者连续15分钟抄写电话本中的号码,而其他人直接进入标准的创造力测试。(曼恩 amp; 卡德曼, 2013)Both groups were asked to come up with as many different uses as they could for a polystyrene cup. The group that were more bored came up with the most uses.两组参与者都被要求尽可能多地想出塑料杯的不同用法,而更无聊的那一组想出的办法更多。Dr Sandi Mann, one of the study’s authors said:此篇研究文章的作者之一,桑迪-曼恩士说:“Boredom at work has always been seen as something to be eliminated, but perhaps we should be embracing it in order to enhance our creativity. What we want to do next is to see what the practical implications of this finding are. Do people who are bored at work become more creative in other areas of their work — or do they go home and write novels?”“工作中的无聊情绪经常是被看做不可取的,但为了提高创造力,或许我们应该接受它。接下来我们要做的是看看这次发现会产生什么实际影响。在工作中感到无聊的人会在其他领域更具有创造性吗?---或者说他们会回家写小说吗?”In a subsequent study they found that creativity was reduced when people were still bored but didn’t have the chance to daydream.在接下来的研究中他们发现,当人们一直感到无聊而没有机会做白日梦的时候,他们的创造力会下降。The purpose of boredom无聊感的用途While we tend to think of boredom as something that inevitably leads to trouble — drinking, gambling, antisocial behaviour — this research suggests different possibilities.虽然无聊感容易被我们当成导致酗酒,以及反社会行为等问题的罪魁祸首,但这个调查向我们展示了它的其他可能性。More than anything, the feeling of boredom is a strong signal that we are stuck in some kind of rut and we need to seek out new goals.作为一个信号,无聊感比其他任何事情都更能提醒我们,现在我们陷入了一成不变的生活中,需要寻求新的目标。In the study above, this search led participants to new ideas.在上面的研究中,这种尝试帮助参与者们产生了新的想法。Usually people will do anything to avoid being bored, as it’s such an aversive experience. But creative people, like writers, sometimes talk about seeking out boredom.通常人们会做各种事情去避免无聊,因为这是一种非常糟糕的体验。但是有创造力的人们,比如作家,有时候会说起想要寻求无聊感。Here is the comedy writer Graham Linehan talking about boredom to The Guardian:喜剧作家格雷厄姆-莱恩汉在对卫报谈起无聊时这样说道:“I have to use all these programs that cut off the internet, force me to be bored, because being bored is an essential part of writing, and the internet has made it very hard to be bored.The creative process requires a period of boredom, of being stuck. That’s actually a very uncomfortable period that a lot of people mistake for writer’s block, but it’s actually just part one of a long process.”“我会尝试各种办法远离网络,强迫自己感到无聊,因为无聊感是写作很重要的一部分,而网络使人很难感到无聊。创作的过程中会有一段时间感到无聊并停滞不前,事实上这是一段很不舒的时期,因为人们往往会误解认为作家遇到了瓶颈,但它其实只是漫长的创作过程中很平常的一部分。”So, when you start to feel bored, instead of glancing at your smartphone, try being bored for a bit.所以,当你开始感到无聊,停止浏览你的智能手机,尝试着让这种无聊保持一段时间。Who knows what creative thought might come of it?谁知道会有怎样的奇思妙想喷薄而出呢? /201406/307294上饶信州区绣眉多少钱Britain#39;s Prince William says people keep offering their babies as future wives for his son.英国威廉王子说大家都想让自己的孩子做乔治未来的妻子。The 31-year-old prince and his wife Duchess Catherine - who are on a three-week tour of Australasia with eight-month-old Prince George - met with families at the Royal New Zealand Air Force base in Whenuapai and he joked the little boy has aly had no shortage of offers for years to come.31岁的王子及其妻子公爵夫人凯瑟琳带着八个月大的乔治王子在澳大利亚展开为期三周的出访,他们在弗努阿派新西兰皇家空军基地与众多家庭见面,他开玩笑道,将来乔治不愁找不到老婆。Karen Dreaver, who introduced William to her daughter Emily, who was born just nine days after George last July, said: ;We mentioned how well-paired she and George would be in the future.凯伦·朱阿韦尔(Karen Dreaver)向威廉介绍自己的女儿埃米莉,她也是七月出生,只比乔治小九天。凯伦说:“我们说起将来埃米莉和乔治会是非常般配的一对。”William replied, #39;There have been a few babies touted to us!#39;威廉回答:“已经有好几个家长跟我们提亲了。”;He could see the funny side.;“他看到了有趣的一面。”The prince also told Sgt. Beej Williams and his wife Leanne that life will get easier now their daughter Haley has reached five months old.威廉王子还对威廉姆斯中士及其妻子琳恩说,现在她女儿哈莉五个月大了,以后的日子就轻松多了。Beej told the Daily Mirror newspaper: ;William mentioned that at around five months George started sleeping mostly through the night and it was easier from that point.威廉姆斯中士对《每日镜报》说:“威廉说五个月左右,乔治开始晚上乖乖地睡觉,从那时起,就轻松了。”;He was saying you have good times ahead.;“他说你们往后的日子会轻松点。”Catherine also spoke to other parents about their experiences and how they find time for one another with their children.凯特王妃也和其他父母交流他们的经历,以及有了孩子后,如何找到时间陪伴对方。Melissa Tilbury, who has five-month-old daughter Madeleine with her husband Jono, the base#39;s accountant, said: ;She said when George was much younger William was away a lot in the beginning - but that you get by.梅丽莎·蒂尔伯里和她丈夫约诺有个五岁大的女儿玛德琳,她丈夫是皇家空军基地的会计。她说:“凯特王妃说到乔治很小的时候,威廉常常不在家,不过一切都能过去。”;Madeleine had been getting sleepy and Kate had some flowers to entertain her. She was really good with Madeleine.“玛德琳总是想睡觉。凯特拿着花逗她玩,凯特对玛德琳很好。”;She spoke to us about the balance, about having the time as a couple and with the baby.;“她和我们说起怎样找到平衡,即照顾好孩子,又有相互陪伴的时间。” /201404/288115余干县激光除斑多少钱

上饶人民医院做去眼袋手术多少钱上饶治疗胎记的医院In his youth, Chou Wen-chung, the 91-year-old subject of a Composer Portrait at the Columbia University Miller Theater on Thursday, had many strict teachers. One was Edgard Varèse, the temperamental French-born Modernist and godfather of electronic music, who once showed his displeasure by throwing a score of Mr. Chou’s on the floor and ordering him to urinate on it. Then there was Bohuslav Martinu, the Czech symphonist, who reacted to a fugue Mr. Chou had written using Chinese melodic material with a single, withering, “Why?”星期四,91岁的作曲家周文中将成为哥伦比亚大学米勒剧场“作曲家的画像”演出的主题。他年轻时有过很多位严师,其中一位便是埃德加·瓦雷兹(Edgard Varèse),这位喜怒无常的法国现代主义作曲家和电子音乐教父发火时曾把周的乐谱扔在地上,让他自己往上面小便。后来周又师从捷克交响乐作曲家波赫斯拉夫·马尔蒂努(Bohuslav Martinu),周用中国传统旋律写了一首赋格曲,马尔蒂努的反应简单而令人难堪:“为什么?”But the sternest teacher of all was war, which swept over Mr. Chou’s native China in 1937, and which, over the next eight years, forced him to flee from one town to the next and often brought him face to face with death. In Shanghai, he practiced Bach and Mozart on the violin to the sound of artillery fire. Later, he trained his hearing as a university student in Guilin, where he learned to identify the flight path of Japanese warplanes by their sound. During a recent interview in his West Village townhouse, Mr. Chou recounted many harrowing war stories.但是最严厉的老师还要算是1937年席卷中国的战争,它持续了八年之久,周被迫背井离乡,到处迁徙,常常面对死亡。在上海,他在炮火声中用小提琴演奏巴赫和莫扎特。后来他在桂林上大学,听力有了长足进步,可以凭声音就听出日本军用机的飞行路径。最近周在西村的家中接受了访谈,详细回忆了很多悲惨的战争故事。“This is the kind of thing we don’t want to experience,” he said after describing a traumatic escape from Guilin in 1944, moments before Japanese forces entered the city. “But if you do experience it, use that. We have to learn from life.”“这是我们不想去经历的事情,”他描述了1944年赶在日军入城之前逃离桂林的惨痛经历,之后说,“但如果你经历过,就得利用它。我们得从生命中学习。”As Mr. Chou spoke, Varèse frowned down at him from an oil portrait that hung above his desk. In fact, it is in Varèse’s former house where Mr. Chou (his name is pronounced Joe Wen-joong) now lives with his wife, the pianist Yi-an Chang. Its rooms are filled with Chinese antiques and samples of Mr. Chou’s own elegant calligraphy art; a collection of instruments from around the world, including a wall of hanging gongs; and small treasures that once belonged to Varèse. As such, the house is a physical expression of Mr. Chou’s lifelong pursuit of a union of Chinese culture, rooted in serious scholarship, and the architectural rigors of Western music.周说,瓦雷兹的油画肖像就挂在自己的书桌上方,蹙着眉头凝视着他。事实上,周现在同妻子、钢琴家张易安所住的房子原本就属于瓦雷兹。房间里到处都是中国古玩和周自己写的优美书法;还有从世界各地收集的乐器,有一整面墙都挂着锣;还有曾经属于瓦雷兹的小件珍宝。周致力于将基于严肃学术的中国文化与有着建筑般严谨的西方文化融为一体,这栋房子就是他毕生追求的实体化。“I never regarded myself as a Chinese composer,” Mr. Chou said. “I regard myself as a 20th-century composer. I have to reflect my time: That is my responsibility.”“我从来不把自己视为中国作曲家,”周说,“我把自己视为20世纪的作曲家。我必须反映自己的时代:这是我的责任。”Even so, there is a strong Chinese inflection in much of Mr. Chou’s music, even in works for purely Western instruments, like the gorgeous, brooding “The Willows Are New,” for solo piano, or in his elegant string quartets, which at times imitate the sounds of a Chinese zither or that of the bowed two-string erhu. On Thursday night’s program, the Brentano Quartet will perform his String Quartet No. 2 (“Streams”) in a program that also features the New York New Music Ensemble and Talujon. He has also written works for Chinese and Korean instruments, and for a broad spectrum of percussion instruments.尽管如此,周文中的音乐里还是有着强烈的中国调子,就连在只使用西方乐器的曲子中也是如此,譬如美妙而富于沉思气质的钢琴独奏曲《柳色新》;他那些华丽的弦乐四重奏中,不时会模仿一下中国古筝或二胡的声音。星期四晚上的演出中,布兰塔诺四重奏组(Brentano Quartet)将演出他的弦乐四重奏2号(流水),该演出中还有纽约新音乐乐团和塔鲁琼乐团(Talujon)。周还为中国和韩国乐器,以及广泛的一系列打击乐器创作作品。As a child, Mr. Chou was exposed to many different styles of Chinese music, even as he was ing translations of European fairy tales his father took home from his travels. As a toddler, he stumbled on an impromptu party in his home’s servants’ quarters.孩提时代,周便接触了各种不同风格的中国音乐,就连在读父亲从旅途带回家来的中译欧洲童话故事时也要听音乐。学步时,他曾经蹒跚着走入家中佣人临时举行的聚会。“I opened the door, and there was a strong smell of cheap Chinese wine, and they were singing and playing,” he said. “I thought, ‘That is real life.’ From then on, I associated music with pleasure and enjoyment.”“我打开门,闻到一股刺鼻的廉价白酒气味,他们在唱歌,弹琴,”他说。“我想,‘这就是真正的生活。’后来我就一直把音乐同快乐与享受联系在一起。”But Mr. Chou also remembers watching first-rate musicians play for pennies in the streets, because the breakdown of the old social order had all but wiped out traditional patronage of the arts. Preserving and, where necessary, restoring knowledge of those arts — among them classical poetry and calligraphy — would become a vital concern of his after he moved to the ed States in 1949.但是周也记得自己曾经目睹一流音乐家在街头卖艺的情形,旧的社会秩序崩溃了,艺术几乎失去了所有传统的资助。1949年他迁来美国后,最关心的事情就是保存关于这些艺术的知识,如有必要,还需要修复它们。At Columbia University, where he began teaching in 1964, he gave informal seminars on Chinese philosophy and aesthetics to the ever-growing numbers of Chinese composition students. The best known of these are Tan Dun (who, among other distinctions, won an Oscar for his score to the 2000 film “Crouching Tiger, Hidden Dragon”); Bright Sheng, recipient of a MacArthur Fellowship in 2001; and Zhou Long, who won the Pulitzer Prize for music in 2011.1964年,他开始在哥伦比亚大学任教,为愈来愈多学习作曲的中国学生举办非正式的中国哲学与美学讲座。其中最著名的学生包括谭盾(他曾获得多项荣誉,更因2000年为电影《卧虎藏龙》配乐而获得奥斯卡奖),以及2001年麦克阿瑟奖学金的获得者盛宗亮和2011年获得普利策音乐奖的周龙。In a phone interview, Mr. Sheng recalled feeling intimidated by Mr. Chou. Coming out of Mao’s Cultural Revolution of the 1960s, he said he and his peers had had little training in the Chinese arts that Mr. Chou insisted they be familiar with.在电话采访中,盛宗亮回忆自己对周文中的敬畏之情。盛经历了20世纪60年代毛泽东的“文化大革命”,他说自己和同学们对中国传统文化知之甚少,而周文中坚持让他们熟悉中国文化。“We would have weekly dinner seminars at his home, or sometimes in a restaurant, where he would discuss these philosophical ideas,” Mr. Sheng said, noting that topics might cover the I Ching’s system of divination and its application to music; percussion rhythms of Chinese opera; or calligraphy and the art of capturing the illusion of motion on paper. “In the beginning, we went out of respect and the lure of food, but in the end, he made a deep impression.”“我们每周都在他的家里举行晚餐会,有时是在饭馆,他会讨论这些哲学思想,”盛说,这些话题包括易经的预言体系与它在音乐中的应用;中国戏曲的打击乐节奏;乃至书法和写意画艺术。“一开始,我们去他家是出于尊重,也是被食物吸引,但是到最后,他给我们留下了深刻印象。”As founder and director of the U.S.-China Arts Exchange at Columbia, Mr. Chou also poured substantial energies — at the expense of his own composing — into bridging the cultural divide between East and West. On that subject, he said, his optimism is waning.周文中是哥伦比亚中美艺术交流中心的创立者和主任,他投入大量精力,不惜牺牲自己的作曲时间,致力于建立东西方文化交流的桥梁。但他说,自己在这个领域的乐观精神在逐渐减退。“I’m very worried about Europe,” he said. “It is very, very late for Europeans to still not be paying attention to non-European cultures.”“我非常担心欧洲,”他说,“欧洲人再不关注非欧洲文化就太晚了。”Then again, Mr. Chou knows the value of patience. Varèse’s verdict that Mr. Chou’s music was fit for toilet paper would not be his last word on the subject. The two worked very closely together for years.但是周文中依然深知保持耐心的重要。瓦雷兹曾经预言周的音乐只适合印在厕纸上,但这并没有成为他的最终结论。后来两人曾经密切合作多年。In 1996, Mr. Chou completed “Clouds,” a landmark work for string quartet that possesses a profoundly autumnal beauty. It represents the fruit of half a century spent studying what Mr. Chou called one of his prime musical influences: clouds. It’s also a testament to the silent encouragement of perhaps his most gentle teacher: his father.1996年,周谱写了《浮云》,这是一部有着重大影响的弦乐四重奏,描绘了深邃的秋日之美。周文中说,“云”是对自己的音乐有重要影响的东西之一,这部作品标志着他半个世纪以来对“云”的研究成果;也明了父亲曾给予他的无言的鼓励,父亲或许是他最温和的一位教师了。He recalled a day in Nanjing when he came home early from middle school. “I went to the garden and lay down in the grass,” he said. “The weather was going to change, and you could see the cloud formations move. I was fascinated. All of a sudden, a shadow came over me, and it was my father: ‘What are you doing? Why are you not studying?’ I could tell from his face he was furious. I had to tell him the truth: ‘I am attracted by the clouds. I want to see how they move.’ ”他回忆,在南京的一天,自己早早从中学放学回来。“我来到花园,躺在草坪上,”他说。“要变天了,你可以看到云的结构发生变化。我被迷住了。突然,一个影子笼罩在我身上,那正是父亲:‘你在干什么,怎么不学习?’他的脸色显然是在生气。我只好告诉他实话:‘我看云看得入迷。我想看它们是怎么移动的。’”Mr. Chou said his father then walked away without saying another word. “He knew I was discovering something, and he did not want to interfere with me. He let me think it out.”周文中说,父亲一句话也没说就走开了。“他知道我发现了什么东西,他不想打搅我,他让我自己去思考。” /201410/337038上饶哪里韩式雕眉做得比较好上饶韩美整形医院激光祛斑手术多少钱

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