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长春市中心医院做孕检多少钱健步养生长春第一医院产前检查好吗

2019年09月21日 19:57:25来源:服务口碑

  • WHEN I WAS 16, I went to Berlin─West Berlin, since at that time a wall still divided the city─to live for three months with a family on an exchange program. They were a nice bunch, the mother a teacher, the father an engineer, a pretty and exuberant daughter who#39;d recently stayed with my family in Toronto and their son, who was a year or two older than I was. All the family members were also, as it turned out, very active members of a group called the Freik?rperkultur, or FKK, which translates as #39;Free Body Culture.#39; In other words, a nudist club.我16岁时参加了一个交流项目,在柏林──西柏林,因为当时仍有一道 将这座城市分隔开──的一个家庭中住了三个月。他们一家人都很好,母亲是老师,父亲是工程师,漂亮而活力四射的女儿(最近她和我们全家一起待在多伦多),他们的儿子比我大一、两岁。后来我发现,他们家所有人都是一个叫Freik?rperkultur(FKK,翻译过来就是“自由身体文化”)的团体的活跃成员。这个团体说白了就是一个天体俱乐部。I hadn#39;t expected this when I signed up for a German cultural exchange through my high school; somehow I hadn#39;t been aware I might have to get naked in public. In fact I knew shamefully little about my host country. Yet nudism, as far as I know, is fairly mainstream in Germany to this day (and not, as it is here, the province of hippies and public radio humorists).当我在高中报名参加一个德国文化交流活动时,可没有料到这些,至少没有意识到我不得不在公共场合赤身裸体。事实上,我对东道国的了解少得可怜。然而就我所知,迄今为止,天体主义在德国都是相当主流的文化(和我们这个盛产嬉皮士和电台笑星的国家不同)。The nudist outings were going to be pretty much mandatory, my hosts explained to me─much like speaking the language or eating the food. The family felt strongly that, to properly explore their native ways, I needed to join in the nudist activities. If I closed my mind to nudism, I#39;d prove myself closed to the wonder of life itself. While there would be no punishment if I refused to participate, they implied that such a lapse of courage on my part would signal a deep moral failure─possibly a spiritual one.主人家向我解释说,裸体郊游是非常有必要的──就像说话和吃东西一样。这家人强烈地感到,为了正确了解本地人的生活方式,我需要加入天体活动。如果我拒绝接受天体主义,就等于拒绝接受生活本身的美妙。尽管我拒绝参与的话不会受到什么惩罚,但他们暗示,我缺乏勇气的表现意味着深层的道德缺陷──可能是心灵缺陷。At 16, I was more resilient and easygoing than I am now. After a few hours of confusion and mild alarm, I shrugged my shoulders, suppressed my panic and acquiesced.16岁的时候,我比现在更有弹性、更随和。几个小时的困惑和轻微的担心后,我耸耸肩,压抑住自己的恐慌,默许了。The good news was that the nudity was mostly a weekend gig. We drove to the #39;Free Body Culture#39; property, which involved a body of fresh water, expanses of bedraggled grass richly festooned with goose and duck droppings and a few stunted trees. We passed through the change rooms, where we divested ourselves of our clothes and left them in unlocked lockers. And then among the shrubs, hundreds of free bodies sp out, picnicking and sunning. I came to understand that a German nudist, in 1984, loved little more than to work on his or her tan.好消息是,这次天体活动基本上就是一次周末小聚。我们驾车前往“自由身体文化”的活动场地,那里有一片淡水湖,广阔的草地上满是鹅和鸭的粪便,还有几棵矮小的树木。我们经过更衣室,在那里脱下衣,将它们放在未上锁的储物柜里。然后,数百个一丝不挂的人在灌木丛中伸展四肢,享用野餐、晒日光浴。就在1984年,我开始理解,对于一个德国天体主义者来说,没有比晒太阳更令他们喜欢的事了。There was a code of eye contact: You didn#39;t ogle people below the neck when you talked to them. You kept your eyes fixed firmly on their faces. But of course you looked later, when you thought no one was paying attention. I remember noticing old and middle-aged bodies and feeling sorry for their owners: how tragic to be so saggy, bulgy and wrinkly. How strange to be apparently proud of the condition, rather than mortified by it.这里有一条目光接触守则:当你和别人聊天时,不应注视对方脖子以下的部位。你应将目光牢牢固定在他们脸上。当然,当你认为没人注意时,会趁机偷看。我记得我注意到中老年人的身体很难看:如此皮肤松弛、身材臃肿、皱纹遍布是多么可悲。为此感到骄傲而不是窘迫可真奇怪。It was a little odd to be naked in the company of the teenage son, whom I#39;d only met days before. But he was so casual and good-natured that I almost forgot how freakish it would have been to blithely disrobe among the boys I knew back home.和主人家十几岁的儿子一起裸露着身体有点奇怪,我可是几天前才认识他的。但是他状态很放松,脾气很好,我几乎忘掉了在我认识的这些男孩中轻率地脱掉衣有多奇怪。My main complaint about the sunbathing afternoons proved not to be self-consciousness. It was simple boredom. I wondered what these people were doing, sitting around naked, chitchatting now and then. Were they waiting for something to happen?事实明,对于在下午晒日光浴,我主要的不满不是难为情,而是觉得这样做很无聊。我奇怪这些人赤身裸体地坐着闲聊要干什么。他们是等待着什么事情发生吗?I was definitely waiting for something, especially when I felt a chill breeze sweep up from the water. I was waiting to be allowed to put my clothes back on. The tan-giving sun was all very well; actual comfort was far better. #39;I#39;m cold,#39; I plaintively expressed, more than once, but each time my obvious constitutional weakness was met with strict disapproval.我绝对是在等待着什么,尤其是当我感到一阵寒冷的微风从水面上吹来时。我等待着可以穿上衣的那一刻。能晒黑皮肤的阳光很好,不过实实在在的舒适感更好。“我冷”,我不止一次哀怨地表示,但弱不禁风的我每次都遭到了严辞拒绝。It wasn#39;t all sunbathing and small talk. We also swam naked─I remember an actual swim meet─and played basketball. The basketball was the worst.那天也不全是日光浴和闲聊。我们还裸泳──我记得有一次真正的游泳比赛──并打了篮球。打篮球的经历是最糟糕的。We wore nothing but sneakers. No brassieres, no jockstraps. There was flopping, and there was pain. There was the sight of nude people, bouncing and swinging above bulky white athletic shoes. Could this be the wonder my German family had talked about, the beauty of the unclad human form? Was this jiggling, dangling dance with a large, orange ball indeed our highest, purest identity?我们除了运动鞋什么都没穿。没戴胸罩,也没穿弹力护身。我们笨重地摔倒,痛苦不已。你所看到的就是的人们穿着笨重的白色运动鞋跳来转去。这就是我的德国交换家庭所说的人类形态的美妙之处吗?这种拍着一个橙色大球、摇摇晃晃的舞蹈真的是我们至高至纯的特性吗?I tried to open my mind as I jumped and flopped. I#39;d jam it open if I could. Open, O Mind! Open right now! I#39;ll prise you open with a clawhammer!我一边蹦蹦跳跳,一边试图敞开心扉。如果我可以,我会尽全力打开它的。快打开!我的心灵!现在就打开!我会用木工锤把你撬开的!And yet, in the end, the Germans were absolutely right. The Free Body Culture gave me a gift I might never have received had I refused to play along. It left me with an acute sense of the absurd─one I still cherish─to be there among my fellow apes, awkward and less than half-willing, aiming and missing, leaping, landing and wincing.结果明,这些德国人是绝对正确的。“自由身体文化”给了我一份如果我拒绝参与就可能永远得不到的礼物。它让我有一种强烈的荒诞感──与猿类同伴共处的荒诞感──至今我仍珍视这种感觉,这种尴尬而不情愿、瞄准又错过、跳起、着地和闪避的感觉。 /201303/230108。
  • Eyes bulging at the steaming plate before her, Lee Soo-#173;kyung eagerly wolfs down a mouthful of rice, unperturbed by the film camera hovering a chopstick’s length from her face. But the constant interruptions by Park Joon-wha give the actress, her pretty features offset by a frumpy collared shirt, little chance to enjoy the meal.李秀景(Lee Soo-#173;kyung,见右图)的姣好面容似乎与领子邋遢的衬衫不相称。此刻,她瞪着眼前热气腾腾的盘子,狼吞虎咽地吃下一大口米饭,对距离自己的脸仅一根筷子开外的摄像机并不在乎。但朴俊华(Park Joon-wha)不停地打断她,她根本就吃不好饭。“Eat as much as you can!” cries the director of the forthcoming soap opera Let’s Eat, scrutinising her from behind two screens and his thick black-rimmed glasses. “If it’s hot then show it – let’s see you gulping! And bring her some more green vegetables to make it more colourful!”戴黑色宽边眼镜的导演一边通过两块视频屏幕观察她的表演,一边大喊:“尽量吃,能吃多少就吃多少!要是感觉饭菜热,你得让人看到你在大快朵颐!来,再给她加点儿绿色蔬菜,让色更鲜艳。”剧组正在制作即将播出的肥皂剧《一起吃饭吧》(Let’s Eat)。As crew members top up her plate once more, Ms Lee discreetly spits a half-chewed morsel into a bucket by her side.剧组人员再次加满菜盘之际,李秀景悄悄地把一小口嚼了一半的饭菜吐进身边的桶里。Making South Korean television drama is hard work, and not always glamorous. Yet the results are consumed avidly by viewers from the Mongolian steppes to the congested streets of Jakarta.拍韩国电视剧是件苦差,也并不总是光鲜的。不过,从蒙古大草原到雅加达拥挤的街道,观众们都非常热衷看韩剧。South Korea’s TV drama exports grew from m in 2001 to 5m in 2011 – the most recent official figure available – and industry executives say there is still room for expansion in Asia and beyond.2001年韩剧出口额为800万美元,2011年(可获得最新官方数据的年份)上升至1.55亿美元。行业高管表示,韩剧在亚洲及其他地区仍有扩张空间。Despite the impressive growth, the soap-opera makers are in no danger of overtaking the multibillion-dollar sales of the country’s electronics groups such as Samsung, or shipbuilders. But their rise reflects the growing cultural allure of one of Asia’s richest nations – as well as its fiercely competitive business culture.尽管增长惊人,但电视剧制作公司与该国三星(Samsung)等电子产品集团或造船企业在销售额上仍不可同日而语。但是,该行业的崛起反映了亚洲最富裕国家之一不断增强的文化魅力——也反映了韩国竞争激烈的商业文化。The lonely death this summer of the celebrated director Kim Jong-hak, in the bathroom of a rented apartment, was a reminder of the high stakes at the top of the country’s TV business. Mr Kim had invested millions of dollars in Faith – a 24-part drama about a plastic surgeon who travels back in time – only to find himself facing a commercial flop and an angry cast pursuing him for unpaid wages.今夏,韩国知名导演金钟学(Kim Jong-hak)在一处出租公寓的浴室里孤独地死去,向世人提醒该国电视业高层的风险有多么高。金钟学曾向24集的《信义》(Faith)投入数百万美元,最终遭遇商业失败,而愤怒的剧组人员向他追讨被拖欠的薪酬。该剧讲述的是一位整形外科医生穿越时空回到过去的故事。His suicide prompted soul-searching in an industry that has seen its budgets balloon in recent years. “When I started in this industry 20 years ago it would cost about Won50m (,000) to make a single 70-minute episode,” says Kim Young-seop, a content executive at SBS, one of South Korea’s three terrestrial broadcasters. “Now it’s more like Won450m.”受金钟学自杀的触动,近年来预算快速上涨的电视行业开始了反省。韩国三大电视台之一SBS的内容总监Kim Young-seop说:“20年前我进入这个行业时,拍一集70分钟的电视剧成本大约是5000万韩元(合4.7万美元),如今成本已接近4.5亿韩元了。”SBS and its rivals, KBS and M, have begun to commission most of their TV dramas from independent production companies. The two parties typically split filming and salary costs but the broadcaster usually takes all the domestic advertising revenue. To make a profit, the independent producers must rely on export sales, sponsorship and product placement.SBS及其对手KBS和M都已开始委托独立制片公司制作大多数电视剧。一般情况下,双方分担摄制与工资成本,但电视台通常独占全部国内广告收入。为实现盈利,独立制片公司必须依靠出口销售、赞助和植入式广告。Critics say this system unfairly skews financial risk towards the independent producers. But the ruthless competition between them has helped drive a dynamic industry with broadening international appeal.批评者表示,这一制度不公平地让独立制片公司承担了大部分的财务风险。但是,这些制片公司之间的无情竞争提高了该行业的活力,在国际上产生了越来越大的吸引力。Japan has been by far the biggest foreign market ever since the success in 2003 of Winter Sonata, a mixture of slushy romance and high drama that won a huge following among middle-aged women (see box). Executives see limited room for further growth there, however. The novelty has worn off among the Japanese, with sentiment towards South Korea also darkened by a growing diplomatic dispute over the nations’ past colonial relationship.日本一直是自2003年《冬季恋歌》(Winter Sonata)大获成功以来韩剧最大的海外市场。那是一部多愁善感、情节曲折的爱情片,受到了中年女性的热烈追捧。然而,行业高管们认为日本市场的未来增长空间受限。一方面,日本人对韩剧的新鲜感已逐渐消退,另一方面,历史上两国之间殖民关系引起的外交纠纷日益加深,也使日本人对韩国的印象变差。So the industry is looking further afield. Broadcasters in Iran, Iraq and the ed Arab Emirates have given primetime slots to conservative South Korean medieval dramas. “In those countries they don’t want to see women in short skirts,” explains Jo Han-sang, an overseas distribution executive at KBS.于是,韩国电视业开始把目光投向更远方。伊朗、伊拉克和阿联酋的多家电视台已安排在黄金时段播放保守的韩国古装连续剧。KBS负责海外发行的高管Jo Han-sang解释道:“在那些国家,人们不想看到女人穿短裙。”Nearly a dozen of KBS’s dramas are currently showing on Romanian national TV, Mr Jo says, while Turkish producers have been buying the rights to remake some shows.他说,KBS出品的10多部电视剧目前在罗马尼亚全国电视台播放,土耳其一些制片公司也一直在购买版权,对部分剧目进行改编。The industry’s export success echoes that of Mexican soap operas, or telenovelas – and SBS is targeting their Latin American heartland through a distribution deal.韩国电视业的出口佳绩与墨西哥肥皂剧(被称为telenovelas的浪漫电视肥皂剧)相仿。SBS正通过一份发行协议,把目光投向拉美腹地市场。But for now, the real money is to be made in Asia, be it from the established markets of Japan and Taiwan or the fast-growing demand in countries such as Vietnam and Cambodia. “US shows have specific genres – cop shows or medical shows – but we have universal stories,” says Park Man-young, a KBS producer.但目前而言,韩剧还是要靠亚洲来赚取大部分利润——无论是成熟的日本或台湾市场,还是需求快速增长的越南和柬埔寨等国家。KBS制片人Park Man-young说:“美剧有些固定的类型——警察剧或医疗剧——但韩剧的情节很齐全。”“All of a sudden everything is about Korea,” says Leung Yuk-ming, a cultural studies professor at Hong Kong’s Lingnan University. But while TV may have started the “Korean Wave”, she adds, the centre of attention is now K-pop – the immaculately groomed, minutely choreographed bands that have an ever tighter grip on Asia’s teen market.香港岭南大学(Lingnan University)文化研究系助理教授梁旭明(Leung Yuk-ming)说:“突然间,韩国文化铺天盖地来了。”不过,她补充道,尽管韩剧也许开启了“韩流”,但现在最吸引观众的是K-pop(韩国流行音乐)——打扮得干干净净、舞蹈动作精心编排的乐队,在亚洲青少年当中越来越有市场。TV companies have sought to cash in by hiring the singers to appear in their shows. “We do like to cast an ‘idol’ who appeals to the international market,” says Suh Jang-ho, a content executive at the entertainment group CJ Eamp;M, which used the pop star Yoon Doo-joon in Let’s Eat.电视公司已寻求利用这一趋势,他们雇佣歌手拍电视节目。集团CJ Eamp;M内容总监Suh Jang-ho说:“我们的确希望请一位在国际市场有吸引力的‘偶像’主演。”该集团聘请了流行歌星尹斗俊(Yoon Doo-joon)加盟《一起吃饭吧》。The likes of Mr Yoon do not come cheap. The going rate for an internationally popular star is now Won100m per episode, executives say. Cuts have to be made to accommodate the big names, notes Yoon Tae-jin, a professor at Seoul’s Yonsei University. “Suddenly the lead parts have no parents any more.”尹斗俊等明星的身价不菲。高管们表示,目前国际级明星每集电视剧的片酬是1亿韩元。首尔延世大学(Yonsei University)教授Yoon Tae-jin指出,为了延揽大明星加盟,不得不在其他方面削减。“主角们突然间都没有父母了。”However, the country’s idiosyncratic “live shoot” system means even the superstars are not given an easy ride. Producers typically shoot only the first few episodes of a drama before it goes to air, and they continue filming as the run proceeds.然而,韩国另类的“随拍随播”制度意味着,就连超级明星的日子也不太好过。一部电视剧开播之前,制片公司通常只拍好了开头几集,然后边拍摄、边播放。This enables screenwriters to develop the plot according to the audience reaction, which is tracked on social media and discussion boards on shows’ fan pages. An unpopular character might be killed off, for example.这一制度使编剧能根据观众反应(从社交媒体和剧目粉丝网页追踪)来设计剧情。比如,某个不受欢迎的角色可能被砍掉。Yet the system often results in cast and crew working through the night as they battle to complete filming each episode before it airs.但这一制度往往意味着,由于每一集都要赶在开播之前制作好,演员和剧组人员往往要彻夜赶工。“Let’s say the episode is being aired at 10pm – the filming might finish at 7pm on the same day,” says Park Tae-young, an executive producer at Samwha Networks, one of the biggest independent TV companies. “If the tape is delivered to the broadcaster late, then you just have a blank screen for one or two minutes. That happens from time to time.”韩国最大的独立电视公司之一Samhwa Networks的执行制片人Park Tae-young说:“比如说,这一集将在晚10点播放,拍摄工作可能在下午7点才完成。如果录像带不能及时送到电视台,电视屏幕上就要出现一两分钟的空白。这种情况时有发生。”However much the budgets grow and the stars complain, producers show no sign of abandoning the gung-ho approach that characterised the growth of other South Korean export industries decades earlier. “If we filmed it before airing, everything would take longer,” says Mr Park at KBS. “Actually, it’s a crazy practice. But we’ve been doing this for years.”无论预算增幅多大,明星如何抱怨,但制片人并未流露出放弃这种紧张制作模式的迹象。几十年前,韩国其他出口行业在起飞阶段也出现过这种模式。KBS的Park Man-young说:“如果我们要求在开播之前制作完毕,那么一切都要花更长时间。没错,这种模式很疯狂,但我们多年来一直是这么做的。” /201312/268305。
  • When it comes to saving, no age-group has experienced a bigger change of heart than young adults.谈到存款,没有哪个年龄段的人比现在年轻的成年人在思想上经历了更大起伏。Measures of saving rates among young adults under 35 show they#39;re suddenly saving a whole lot more. According to Moody#39;s Analytics, one measure, the four-quarter moving average of the saving rate of young adults -- which smoothes out volatility -- started dropping in the late 1990s and hit roughly -15% in 2006 -- before climbing higher during the 2008 global financial crisis and its economic aftermath to over 5%. It#39;s now around 2% or 3%, as of the third quarter of 2012.衡量35岁以下成年人储蓄率的指标显示,他们突然开始疯狂存钱。据经济研究机构Moody#39;s Analytics统计,年轻人储蓄率的四季度移动均值从上世纪90年代末开始下滑,2006年达到负的15%左右,随后在2008年全球金融经济危机期间有所攀升,一度突破5%。截至2012年第三季度,年轻人储蓄率四季度移动均值约为2%或3%。该指标在一定程度上消除了波动性影响。No other age group has seen so violent a turn from borrowing to saving. ( See related article.) Sure, people between 35 and 44 also increased saving during the recession, but their about-face wasn#39;t as dramatic. Young people now save roughly as much as people 35 to 44 -- and nearly as much as those between 45 and 54.其他年龄段就没有出现如此强烈的从借钱到储蓄的态度变化。当然,35岁至44岁的人在经济不景气的时候也增加了储蓄,但他们的态度转变没有这么剧烈。年轻人目前在存钱方面与35岁至44岁年龄段差不多一样,甚至接近45岁至54岁年龄段的人。The trend suggests the recession may have made some young people more #39;risk averse,#39; economists#39; jargon for less willing to take risks by, say, borrowing. It#39;s likely that many young people are having a harder time getting credit, especially those with super- high student-loan burdens. But young adults are also seeing their incomes fall, and generally make less money than older people. So they may now -- post financial crisis and recession -- find themselves less able to service debt. That, in turn, may reduce their demand for credit.这个趋势表明,经济衰退可能令一些年轻人的“避险情绪”增加。这是经济学家使用的术语,指不太愿意通过借款等方式承担风险。一种可能的解释是,很多年轻人目前获得贷款的难度有所增加,特别是那些背负着超高学生贷款的年轻人。而同时,年轻成年人的收入也有所下降,整体来看他们赚的钱不如年龄较大的人多。如今,在金融危机和经济衰退过后,他们可能会发现自己的偿债能力减弱了,而这反过来又会影响他们的贷款需求。#39;Younger households were significantly dis-saving -- aggressively borrowing -- prior to the recession, but they are now saving at a healthy rate,#39; said Mark Zandi, economist at Moody#39;s Analytics.Moody#39;s Analytics的经济学家赞迪(Mark Zandi)说,年轻家庭在经济衰退之前曾非常反对储蓄,他们会大量借钱,但如今他们的储蓄率处在一个健康的水平上。#39;I think this clearly shows a significant increase in the risk aversion of younger households given the economic nightmare of the downturn and weak recovery,#39; he adds. #39;It is unclear how long this heightened risk aversion will last, but I suspect the last few years will have an indelible impact on how younger households think about their finances.#39;赞迪还说:我认为这明确显示,面对经济低迷和复苏乏力的噩梦,年轻家庭的避险情绪明显增加。他说:不清楚这种加剧的避险情绪会持续多长时间,但我怀疑过去几年对于年轻家庭的财务观会产生不可磨灭的影响。 /201303/230130。
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