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泉州省第一医院妇科咨询福建省泉州妇幼医院妇产中心Lorin Maazel, a former child prodigy who went on to become the music director of the New York Philharmonic, the Cleveland Orchestra, the Vienna State Opera and several other ensembles and companies around the world, and who was known for his incisive and sometimes extreme interpretations, died on Sunday at his home in Castleton, Va. He was 84.指挥家洛林·马泽尔(Lorin Maazel)周日在卡斯尔顿的家中逝世,享年84岁。马泽尔曾是一名神童,后来担任过纽约爱乐乐团(New York Philharmonic)、克利夫兰管弦乐团(Cleveland Orchestra)、维也纳国家歌剧院(Vienna State Opera)以及全球其他一些表演团体和剧团的音乐总监,并以其敏锐,有时有些极端的演奏而闻名。The cause was complications of pneumonia, said Jenny Lawhorn, a spokeswoman for Mr. Maazel. In recent days, he had been rehearsing for the Castleton Festival, which takes place on his farm.马泽尔的发言人珍妮·劳霍恩(Jenny Lawhorn)表示,马泽尔死于肺炎并发症。最近几天,他一直在为卡斯尔顿音乐节(Castleton Festival)进行排练。该音乐节在他的农场举行。Mr. Maazel (pronounced mah-ZELL) was a study in contradictions, and he evoked strong feelings, favorable and otherwise, from musicians, administrators, critics and audiences.马泽尔是一个复杂的研究对象,他引起了音乐家、管理人员、家和观众的强烈看法,其中有些是赞许,有些则相反。He projected an image of an analytical intellectual — he had studied mathematics and philosophy in college, was fluent in six languages (French, German, Portuguese, Spanish and Italian, as well as English) and kept up with many subjects outside music — and his performances could seem coolly fastidious and emotionally distant. Yet such performances were regularly offset by others that were fiery and intensely personalized.他塑造了一个善于分析的知识分子的形象——他在大学学过数学和哲学,精通六门语言(法语、德语、葡萄牙语、西班牙语、意大利语和英语),并紧跟音乐以外的许多学科的潮流——他的表演可能看上去非常注重细节,在情感上非常冷漠。然而,这类表演常常会被其他具有强烈个性的热烈表演抵消。He was revered for the precision of his baton technique, and for his prodigious memory — he rarely used a score in performances — but when he was at his most interpretively idiosyncratic, he used his powers to distend phrases and reconfigure familiar balances in the service of an unusual inner vision.他凭借精准的指挥技巧,以及惊人的——他在表演中很少使用乐谱——而备受敬重,但当他表现另类且具有非常强的解释性时,他会用手中的权力扩张乐句,遵从自己与众不同的内心视野,重新组建熟悉的平衡。“He is clearly a brilliant man,” John Rockwell wrote in The New York Times in 1979, “perhaps too brilliant to rest content with endless re-creations of the standard repertory. He is also, it would seem, a coldly defensive man, and perhaps that coldness coats his work with a layer of ice.“他显然是一个才华横溢的人,”约翰·罗克韦尔(John Rockwell)于1979年在《纽约时报》上写道,“或许太聪明了,以至于无法满足于对标准剧目无休止地重新创作。他看上去也是一个冷漠的处于防守状态的人,或许这种冷漠让他的作品裹上了一层冰。”“The only trouble with this line of thinking is that it doesn’t take all the facts into account. Mr. Maazel, when he’s ‘on,’ has led some of the finest, most impassioned, most insightful performances in memory. When he’s good, he’s so good that he simply has to be counted among the great conductors of the day. Yet, enigmatically, it’s extremely difficult to predict just when he is going to be good or in what repertory.”“这种思路的唯一问题是,它没有考虑全部事实。马泽尔在‘有状态’时会带来人们记忆中一些最精、最慷慨激昂、最有见地的演奏。当他好的时候,他会好得简直可以被列为当代伟大的指挥家之一。然而,不可思议的是,他什么时候,以及在什么剧目中表现良好,极难预测。”A Boy With a Baton小小指挥家Perhaps because he grew up in the limelight, conducting orchestras from the age of 9, Mr. Maazel was self-assured, headstrong, and sometimes arrogant: When he took a new directorship, he often announced what he planned to change and why his approach was superior to what had come before. He knew what he wanted and how to get it, and if he encountered an immovable obstacle, he would walk away, also with a public explanation.从9岁起,马泽尔便开始指挥管弦乐队。或许因为是在聚光灯下长大的,他自信,固执,有时候还有些傲慢:当他接任一个新的指挥职务时,他通常会宣布自己的改革计划,以及为何他的方式优于之前的方式。他知道自己想要什么,也知道如何得到想要的东西,如果遇到无法克的障碍,他会离开,并给公众一个解释。That was how he handled his brief term as general manager and artistic director at the Vienna State Opera, where he was the first American to wield such power.这正是他在短暂担任维也纳国家歌剧院总经理和艺术总监时采取的方式。他是首位在该歌剧院担任上述职务的美国人。“I am keen that this house again be led in the fashion of Mahler and Strauss,” he said at a news conference when his appointment was announced. “I have the full responsibility for the opera, and I have no intention of sharing that responsibility, though I may delegate it.” He added, “I will not hesitate to make changes, if I consider them necessary.”“我强烈建议再次以马勒(Mahler)和施特劳斯(Strauss)的方式领导这家歌剧院,”任命宣布后他在新闻发布会上宣布。“我全权负责歌剧院,我不打算和其他人一起承担这一责任,不过我可能会委托一些人作为代表。”他接着说,“如果觉得有必要进行变革,我不会犹豫。”He quickly transformed the house from a repertory company, where a different work was staged every night, to what he called a “block” system, in which groups of operas were played, with frequent repeats. He regarded this as more efficient and likely to produce better performances.他很快便将维也纳国家歌剧院从一个每晚都上演不同剧目的剧团,变成了他所谓的“固定”制度。在这种制度下,该歌剧院分组上演歌剧,并频繁重演。他认为这种方式更有效,更有可能带来更精的表演。When the Viennese culture minister differed, and also complained about Mr. Maazel’s casting choices and argued that he was mainly interested in burnishing his own artistic profile, Mr. Maazel abruptly resigned, two years into a four-year term, and wrote an Op-Ed article for The New York Times, deploring interference in the arts by government officials with no artistic background. (In September 2013, the company erected a bust of Mr. Maazel, by the sculptor Helmut Millionig. Mr. Maazel attended the unveiling ceremony.)当维也纳文化部长提出异议,同时还抱怨马泽尔的演出人选,并称他主要是想提升自己的艺术形象时,马泽尔突然辞职,并为《纽约时报》写了一篇专栏文章,谴责没有艺术背景的政府官员干涉艺术。当时,他的四年任期只过了两年。(2013年9月,维也纳歌剧院树立了一座出自雕塑家赫尔穆特·米利恩尼科[Helmut Millionig]之手的马泽尔半身像。马泽尔出席了塑像揭幕仪式。)His tenures with the Cleveland Orchestra and the New York Philharmonic had their rough moments, too. The Cleveland musicians voted against hiring him to succeed the legendary George Szell, who had died in 1970, because they did not consider him sufficiently accomplished to fill Szell’s shoes. Mr. Maazel told The Times in 2002 that “the relationship remained more or less rocky to the end.”他在克利夫兰交响乐团和纽约爱乐乐团的经历也并非一帆风顺。克利夫兰的音乐家投票反对聘用他接替传奇人物乔治·塞尔(塞尔1970年逝世),因为他们认为他不够资格接塞尔的班。2002年马泽尔告诉《纽约时报》“他们的关系直到最后也不和谐”。In New York, Mr. Maazel quickly won over the Philharmonic musicians. But several critics, while happy that the orchestra had engaged an American music director for the first time since Leonard Bernstein gave up its podium in 1969, were disappointed that Mr. Maazel, 70 at the time, was of the same generation as his predecessor, Kurt Masur (then 73), and that his tastes in contemporary music seemed conservative. Eventually, many of them came to admire him.在纽约,马泽尔很快赢得了爱乐乐团音乐家们的信任。但一些乐评人,虽然高兴看到李奥纳德·伯恩斯坦1969年去职以来第一个美国指挥家第一次担任此职,但他们认为,马泽尔当时已经70岁,和前任科特·马瑟(当时73岁)还是同一个时代的人,令他们失望。而且他对当代音乐的口味似乎很保守。但最终,很多人开始赞赏他。Alan Gilbert, Mr. Maazel’s successor as music director of the Philharmonic, said Sunday, “Personally, I am grateful to him, not only for the brilliant state of the orchestra that I inherited from him, but for the support and encouragement he extended to me when I took over his responsibilities.”马泽尔在爱乐乐团的继任者艾伦·吉尔伯特(Alan Gilbert)周六表示,“就我个人而言,我感激他,不仅因为我从他手中继承下来的乐团状态出色,还因为当我接过他的责任时,他给予我的持和鼓励。”Lorin Varencove Maazel was born in the Parisian suburb of Neuilly-sur-Seine on March 6, 1930, to a pair of American music students — Lincoln Maazel, a singer, and Marie Varencove Maazel, a pianist — who were studying there. He showed an aptitude for music early: When he was 5, by which time the family had moved to Los Angeles, he began studying the piano; at 7, he took up the violin.洛林·瓦伦科夫·马泽尔于1930年3月6日出生在巴黎郊区的塞纳河畔讷伊,父母都是在那里学习音乐的美国学生,其中父亲林肯·马泽尔(Lincoln Maazel)是一名歌手,母亲玛丽·瓦伦科夫·马泽尔(Marie Varencove Maazel)是一名钢琴家。他很早就表现出了音乐才能:5岁时,他们一家人已经回到了洛杉矶,他开始学习钢琴;7岁开始学习小提琴。One piece in his piano repertory was a reduction of Haydn’s “Surprise” Symphony, and when he was 8, his father gave him a copy of the full orchestral score. Lorin studied it, along with a recording his father also bought him, and when he conducted a family ensemble in the work, his parents noted that he was adept at cues and balances. They took him to study with Vladimir Bakaleinikoff, then an associate conductor with the Los Angeles Philharmonic.他的钢琴曲目包括海顿《惊愕交响曲》(Surprise)的改编版。8岁时,父亲给了他作品的管线乐全谱。洛林跟着父亲借来的录音带学习了乐谱,当他指挥一个家庭室内乐团时,他的父母注意到,他对时机和平衡颇为擅长。他们带他去与时任洛杉矶爱乐乐团(Los Angeles Philharmonic)副指挥的弗拉迪米尔·巴卡莱尼科夫(Vladimir Bakaleinikoff)学习。When Mr. Bakaleinikoff took a conducting job in Pittsburgh, the Maazels followed. They also sent young Lorin to music camp at Interlochen, Mich.后来巴卡莱尼科夫接受了匹兹堡的一份指挥工作,马泽尔一家也跟着去了那里。他们还把年幼的马泽尔送去了密歇根州因特劳肯的音乐夏令营。Olin Downes, a music critic for The Times, happened to be visiting the camp when Lorin, then 9, led the camp’s orchestra in a movement from Schubert’s “Unfinished” Symphony. Mr. Downes, though generally skeptical of prodigies, wrote that the boy conducted “with a beat clean and firm, yet elastic and with a consistency of tempo that very occasionally was modified by a nuance absolutely in place and appropriate as it was employed.”当时9岁的洛林正在指挥夏令营的乐团演奏舒伯特(Schubert)《未完成》交响曲中的一个乐章,《纽约时报》音乐家奥林·唐斯(Olin Downes)刚好来到夏令营。尽管唐斯一向对神童持怀疑态度,但是他写道,这个男孩的指挥“节奏清晰而坚定,并且富有弹性,节拍连贯,偶尔的细微差异也表现得绝对准确、恰到好处。”Toscanini and Lollipops托斯卡尼尼和棒棒糖That summer, the Interlochen orchestra performed at the World’s Fair in New York, and Lorin conducted it twice. In 1940, just before his 10th birthday, he conducted the Pittsburgh Symphony as well, and when he was 11, in July 1941, Arturo Toscanini invited him to conduct the N Symphony in a concert — works by Wagner, Mendelssohn and Dika Newlin — broadcast nationally from Radio City Music Hall. The orchestra, outraged at the idea of being led by a child, greeted him at the first rehearsal with lollipops in their mouths. He won their respect the first time he stopped the rehearsal to point out a wrong note.当年夏季,因特劳肯的夏令营乐团在纽约世界览会(World’s Fair)上表演,洛林两度执棒。1940年,在洛林的10岁生日之前,他还指挥了匹兹堡交响乐团(Pittsburgh Symphony),即1941年7月,11岁时,阿图罗·托斯卡尼尼(Arturo Toscanini)邀请他在一次音乐会上指挥N交响乐团(N Symphony)——其中有瓦格纳(Wagner)、门德尔松(Mendelssohn)和迪卡·纽林(Dika Newlin)的作品——在纽约无线电音乐城(Radio City Music Hall)向全国广播。由于交响乐团对由一个孩子来指挥自己的做法感到愤怒,所以他们第一次排时含着棒棒糖对他表示欢迎。但是,当他第一次让大家停下来,指出一个错误的音符时,就立即赢得了大家的尊敬。In the summer of 1942, and again in 1944, he led the New York Philharmonic in performances at Lewisohn Stadium. But when he turned 15, he put his baton aside and settled into his academic studies at the University of Pittsburgh.1942年夏,然后是1944年,他在路伊森体育场(Lewisohn Stadium)指挥了纽约爱乐乐团的演出。但是到了15岁,他把指挥棒放到了一遍,专注于匹兹堡大学(University of Pittsburgh)的学业。He did not abandon music entirely. In 1946, he organized the Fine Arts Quartet of Pittsburgh, with which he was a violinist until 1950, and in 1948, he joined the violin section of the Pittsburgh Symphony. An invitation from the conductor Serge Koussevitzky to lead the Boston Symphony Orchestra at Tanglewood in the summer of 1951 brought him back to the podium just before he headed off to Rome, on a Fulbright fellowship, to study Renaissance Italian music.他并没有完全放弃音乐。1946年,他组织成立了匹兹堡美术四重奏(Fine Arts Quartet of Pittsburgh),直到1950年,他都在里面担任小提琴手。1948年,他加入匹兹堡交响乐团的小提琴声部。1951年夏,指挥家谢尔盖·库塞维茨基(Serge Koussevitzky)邀请他前往坦格尔伍德指挥波士顿交响乐团,他由此重新回到了指挥台。之后,他以富布赖特学者的身份,又前往罗马研究文艺复兴时期的意大利音乐。Mr. Maazel dated the start of his mature career to Christmas Eve 1953, when, still a student in Rome, he was invited to step in for an ailing conductor at the Teatro Bellini, in Catania. His success there led to engagements in Naples, Florence and elsewhere in Europe, and then in Japan, Australia and Latin America.马泽尔认为,自己职业生涯的成熟始于1953年的平安夜。当时仍是罗马一名学生的他受邀前往卡塔尼亚贝里尼剧院(Teatro Bellini),接替一名健康状况欠佳的指挥。他在那里获得了成功,随后便开始前往那不勒斯、佛罗伦萨以及欧洲其他地方参加活动,接着又前往日本、澳大利亚和拉丁美洲。An Old-Fashioned Approach老派手法Mr. Maazel’s first music directorship was that of the Deutsche Opera, in West Berlin, jointly with the Berlin Radio Symphony Orchestra, a position he held from 1965 until 1971, when he accepted the directorship of the Cleveland Orchestra, to begin in 1972.马泽尔首次担任音乐总监是在西柏林的德国歌剧院(Deutsche Opera),同时还有柏林广播交响乐团(Berlin Radio Symphony Orchestra),他从1965年到1971年一直担任这个职务。1972年,他接受了克利夫兰交响乐团的总监职位。In Cleveland, as in Berlin, Mr. Maazel took an old-fashioned approach to the job. Instead of conducting barely more than a dozen weeks of concerts and leaving the rest to guests, as was becoming the norm, Mr. Maazel spent most of his year in Cleveland. He recorded plentifully with the orchestra, and toured with it frequently. He gave up the directorship, becoming conductor emeritus, in 1982, the year he became general manager of the Vienna State Opera.与在柏林时一样,马泽尔对克利夫兰的工作也采用了一种老派手法。按照惯例,他本可以一年只指挥十几周,然后把其他工作留给客席指挥,但是马泽尔却将一年中的大部分时间都花在克利夫兰。他与乐团一同录制了大量音乐,还经常随乐团出行。1982年,他放弃总监职位,成为荣休指挥,并担任了维也纳国际歌剧院总经理。When the Vienna directorship went sour, in 1984, Mr. Maazel declared himself liberated, free to return to the far-flung guest conducting of his early years.1984年,维也纳的总监工作出现问题,于是马泽尔宣布自己重获自由,可以回到他早年那种四海为家的客席指挥生涯。“I worked as a music administrator as well as a conductor of 20 years,” he told an interviewer in 1985, “and during that time, I devoted almost all my attention to the organizations I was working for — six years in Berlin, 10 in Cleveland, three in Vienna. I’ve conducted 132 orchestras, but in the last 20 years, I’ve not conducted more than seven or eight of them. So I’m having a lot of fun going around the world now, meeting people who’ve gotten to know me through records and television. I’m like a child let out of school.”“我担任音乐管理者和指挥有20年的时间,”他1985年接受采访时说,“那段时间,我把所有精力都花在我所工作的机构——6年在柏林、10年在克利夫兰,3年在维也纳。我一共指挥了132个乐团,但是在过去20年里,我所指挥的乐团不超过七八个。所以,我现在觉得能到世界各地看看,见见那些通过录音和电视认识我的人,是一件很有趣的事情。我就像个被放出校门的孩子。”Mr. Maazel celebrated his 70th birthday with a world tour in which he revisited many of the orchestras he had conducted over the decades. One stop was at the New York Philharmonic, which was negotiating with several conductors to succeed Mr. Masur as music director. Mr. Maazel threw his hat in the ring, and within a few weeks, he captured the post.为了庆祝自己的70岁生日,马泽尔重新拜访了他在过去数十年指挥过的许多乐团。其中一站就是纽约爱乐,当时乐团正在与几名指挥家商讨接任马苏尔担任音乐总监的事。马泽尔也表示了自己对这个职位的兴趣。几周之内,他就获得了这个职位。After he left the Philharmonic in 2009, Mr. Maazel set up the Castleton Festival, for classical music and opera, on the grounds of his farm in Virginia. He founded and directed the festival jointly with his wife, the German actress Dietlinde Turban Maazel, whom he married in 1986. Two previous marriages — to the composer Mimi Sandbank and the pianist Israela Margalit — ended in divorce.2009年离开爱乐乐团后,他在自己位于弗吉尼亚的农场里创办了专事古典音乐和歌剧的卡斯尔顿音乐节。音乐节是他与妻子、德国演员戴特琳德·图尔班·马泽尔(Dietlinde Turban Maazel)共同创办并管理的。两人于1986年结婚。此前的两次婚姻——分别与作曲家米米·桑德班克(Mimi Sandbank)和钢琴家伊兹瑞拉·马加利特(Israela Margalit)——都以离婚告终。His wife survives him, as do their two sons, Leslie and Orson Maazel, and daughter, Tara Maazel; and three daughters — Anjali Maazel, Daria Steketee and Fiona Maazel — and a son, Ilann Margalit Maazel, from his previous marriages.他仍然健在的家人有妻子及他们的两个儿子莱斯利(Leslie)和奥森·马泽尔(Orson Maazel),女儿塔拉·马泽尔(Tara Maazel)。此外还有他与前妻所生的三个女儿安贾莉·马泽尔(Anjali Maazel)、达里娅·斯德克提(Daria Steketee)和菲奥娜·马泽尔(Fiona Maazel),以及儿子伊兰·马加利特·马泽尔(Ilann Margalit Maazel)。Mr. Maazel’s life as a festival director did not diminish his wanderlust. He became music director of the Munich Philharmonic in 2010. And in a blog on his website, he noted that in 2013 — he was 83 — he conducted 102 concerts, performing 72 compositions in 28 cities in 16 countries. He added that he was looking forward to getting back in harness.作为音乐节总监的马泽尔并没有居于一隅。2010年,他成为慕尼黑爱乐乐团(Munich Philharmonic)音乐总监。他在自己网站上的一篇客中指出,他在2013年——时年83岁——共指挥了102场音乐会,在16个国家的28座城市表演了72部作品。他说他渴望重新开始忙碌的工作。“Curiously, for someone who has a fairly good reputation for stick technique,” he told a reporter for The Times in 2002, “I don’t recognize stick technique per se. I don’t think I ever make the same motion twice in the same bar of music. The aim is to find a motion that responds to the need of a particular player at a particular moment. The player must be put at ease, so that he knows where he is and what is expected, and is free to concentrate on beauty of tone. There is no magic involved.”他2002年告诉《纽约时报》,“奇怪的是,作为一个在指挥技法上名声不错的人,我对指挥技法本身并不欣赏。我不认为我能对同一段乐曲打出相同的手势。指挥的目的在于找到一种手势,能在一个具体的瞬间与某位具体的演奏者的需要相呼应。必须让演奏者放松下来,这样他才知道他在哪里,接下来会发生什么,而且能自在地专注于音色的美感。其中并无魔法可言。” /201407/312767泉州有女子医院吗 福建泉州市二院在线QQ

福建省泉州人民医院官网预约免费泉州泉港人流手术多少钱 Am I coming to the US to engage in prostitution? Do I belong to a clan or tribe? Do I have tuberculosis or infectious leprosy? 我是不是来美国从事卖淫的?我是不是一个宗族或者部落的成员?我有没有患肺结核或者是传染性麻风? I have just renewed my five-year US visitor’s visa after truthfully answering “no” to the above and many other questions. 在给我的五年期美国旅游签续签的时候,我如实地对上述问题以及很多其他问题做出了否定回答。 At the US London embassy the ticket-based queueing system was well organised, there was free coffee, the consular staff who interviewed me were good-humoured and my passport was returned with a fresh visa just three days later. 在伦敦的美国大使馆,人们有序排队,有免费的咖啡,和我面谈的领事馆工作人员态度和蔼,三天之后我就拿到了带有新签的护照。 But as I filled in the application form before my embassy appointment, I wondered what the point was of asking “Do you seek to engage in terrorist activities while in the ed States?” when those who plan to do so will surely click “no”. 但在来大使馆面签之前填写申请表的时候,我真的不知道问“你在美国的时候是否会寻求从事恐怖活动?”这种问题有什么意义,因为那些策划恐怖活动的人肯定会选“否”。 Why are some of the questions so imprecise? For example, on the form I had to fill in (as a journalist, I require a particular type of visa), I was asked if I had ever been responsible as a government official for “particularly severe violations of religious freedom”. What does particularly severe mean? Are mild violations of religious freedom acceptable? 为什么有些问题如此含糊?比如说,在我需要填写的申请表中(作为一名记者,我需要办理特定类别的签),我被问及是否曾经作为政府官员“组织特别严重的违反宗教自由的活动”。“特别严重”是什么意思?轻微违反宗教自由就可以接受吗? Or take an example from the Electronic System for Travel Authorisation (Esta) form that visitors with a US visa waiver complete (this includes tourists from many European and some other countries): “Have you ever been arrested or convicted for an offence or crime involving moral turpitude?” 再来看美国免签游客需要填写的旅游许可电子系统(Esta)表格(面向多个欧洲国家和其他一些国家的游客),上面有一道这样的问题:“你有没有因为道德败坏行为或犯罪而被捕或被判刑?” What is a crime involving moral turpitude? Does agreeing to accept someone else’s speeding points count as moral turpitude when an opinion poll by the AA motoring organisation suggested 300,000 people in the UK had done that? 什么是道德败坏罪?超速之后拿别人的分数顶算不算道德败坏?英国汽车协会(AA)的一项民调显示,英国有30万人都这么做过。 And, finally, how did US visa application forms come to be such a curious agglomeration of questions? 最后,美国签申请表怎么会有这么多奇怪的问题? My first query – whether miscreants are likely to answer incriminating questions truthfully – is one nearly every visa applicant asks. “Clients constantly say: ‘Are you kidding? Does anyone answer ‘yes’?’” says Kehrela Hodkinson, a London-based US immigration lawyer. 我的第一个疑问:邪恶分子有没有可能如实回答关于犯罪的问题?这也是几乎每个签申请者会问的问题。在伦敦工作的美国移民律师科瑞拉#8226;霍德金森(Kehrela Hodkinson)说,客户经常问“你开玩笑吧?鬼才会回答‘是’呢!” It is also the easiest mystery to solve. The point of asking these questions is that, if you answer them untruthfully, you have obtained a visa by fraud or misrepresentation and can be deported if you are found out, either on this visit, or if you subsequently win the right to live in the US. 这个疑问很容易解答。问这些问题的意图在于,如果不如实回答问题,就相当于通过欺骗或者误导获得签,一旦被发现就可能遭到驱逐,不管是在此次旅行中,还是以后获得美国居住权的时候。 My query about the imprecision of some of the questions has a less precise answer. There have been many academic discussions – and even an entire book – on what moral turpitude is. 对一些语义不清晰的问题,我就不能准确地解释了。关于什么是道德败坏,有过很多学术讨论,甚至有一整本书都是讲这个的。 There is no statutory definition of the term. It is up to judges and the Board of Immigration Appeals to decide what it means, Mary Holper of Boston College Law School says in an informative paper. When deciding whether to deport someone, judges have to assess whether the crime in question offends the “moral standards generally prevailing in the ed States”. This, Prof Holper says, “casts judges in the role of God”. 这个词没有法定的定义。波士顿学院法学院(Boston College Law School)的玛丽#8226;霍尔波(Mary Holper)在一篇颇具启发意义的论文中说,它的意思取决于法官和移民上诉委员会(Board of Immigration Appeals)。在决定是否要驱逐某个人的时候,法官必须判断其所犯的罪是否违反了“美国的主流道德标准”。霍尔波教授说,这“让法官扮演了上帝的角色”。 In cases over the years, fraud, theft and many sexual offences have been classed as involving moral turpitude. Assault has been, too, “when the offence has an aggravating factor such as a deadly weapon”, Prof Holper says. 多年来,欺骗、盗窃以及很多性犯罪都被归为道德败坏行为。霍尔波教授说:“如果犯罪过程中有使用致命武器等加重情节的因素,”攻击也算是道德败坏罪。 As for severely restricting religious freedom, the US Commission on International Religious Freedom, a statutory body, says only one person has ever been barred on those grounds: Narendra Modi, tipped by many to be the next Indian prime minister, for his alleged complicity in the deadly 2002 anti-Muslim riots in his home state of Gujarat. (He denies responsibility.) 至于严重限制宗教自由,法定机构美国国际宗教自由委员会(US Commission on International Religious Freedom)指出,到目前只有一个人因为这个原因没被放行,他就是很多人认为有望出任下一届印度总理的纳伦德拉#8226;莫迪(Narendra Modi),原因是他被控参与了2002年在他的家乡古吉拉特邦爆发的反穆斯林严重骚乱(他对此表示否认)。 The reason US visa forms seem such an odd accretion of questions is that is what they are. They have been added to over the decades to confront whatever danger the US was dealing with at the time. 美国签申请表之所以看起来像是很多奇怪的问题堆积而成的,原因就是它们本来就是这样的。这些问题几十年来不断累积增多,以应对美国在各个时期面临的风险。 Prof Holper points out that “moral turpitude” was introduced into US immigration law in 1891. Questions about issues such as prostitution go back to before visas existed, as do many health questions. Officials at Ellis Island used to keep visitors out because they had tuberculosis, says Muzaffar Chishti of the US-based Migration Policy Institute. 霍尔波教授指出,“道德败坏”是1891年引入美国移民法的。关于卖淫等一些方面的问题在签存在之前就有了,很多健康方面的问题也是如此。美国移民政策研究所(Migration Policy Institute)的穆扎法尔#8226;齐矢堤(Muzaffar Chishti)说,埃利斯岛(Ellis Island,原美国移民局所在地)的官员曾拒绝有结核病的游客进入。 Are the visa forms an effective way of keeping undesirables out of the US? “If we’re interested in keeping people who mean to do us harm out, it’s not very effective,” Mr Chishti says. Biometric screening, databases and finger printing are far more useful, he says. 签申请表是不是将不良分子拒于美国之外的一种有效方式呢?齐矢堤说:“如果我们不想让有意伤害我们的人进入美国,这种方式就不是很有效。”他认为,生物筛选、数据库以及指纹图谱要有用得多。 /201312/268160泉州新阳光医院做无痛人流要多少钱

泉州市新阳光妇科医院院长是谁An Italian woman who made anonymous calls to her lover#39;s wife to tell her of their affair has been told she must pay a 287 fine for harassment.意大利一名女子给情人的妻子打匿名电话,揭露他们的情事,被法院以骚扰罪判处300欧元的罚款。The woman, named locally as Annamaria D.R., also told her lover#39;s wife about other affairs her husband had allegedly been having in Bari and Potenza, southern Italy.这位名叫安娜玛利亚的女子同时还在电话里向情人的妻子揭露了其夫在意大利南部城市巴里和波坦察有过的风流韵事。She argued in court during an appeal hearing that because her lover#39;s wife did not hang up on her calls immediately, it was clear she was interested in what was being said.这名女子在法庭上诉中表示,情人的妻子并没有立即挂断她的电话,很明显是对自己所说的内容很感兴趣。The mistress tried to overturn a conviction of harassment originally issued by the Court of Potenza in 2013.这名女子试图推翻波坦察法院在2013年对其作出的骚扰罪判决。However, Italy#39;s Supreme Court in Rome ruled that the fact the wife did not interrupt the calls ;cannot be seen as acquiescence on the wife#39;s part, given the serious nature of what was being revealed.;不过,位于罗马的意大利最高法院判决称,“鉴于当时电话中所说事情的严重性,”那位妻子没有挂断电话“并不能被看做默许。”;The petulant and disturbing nature of the calls is shown in the anonymous forms they took,; said the ruling.判决书表示:“匿名电话的任性、骚扰本质已显露无疑。”The court upheld the original conviction of harassment, with judges saying that an anonymous call to reveal an affair is a reprehensible act regardless of whether the claim is true.法庭维持了原判,法官表示,用匿名电话揭露婚外情是一种不道德的行为,无论揭露的事实是否属实。The mistress called her lover#39;s wife a total of three times, once from her office phone and twice from her mobile, to tell her that her husband had betrayed her many times and continued to do so. One call lasted 28 minutes, another 11 minutes.这名女子一共给她情人的妻子打了三次电话,一次从办公室电话打出,两次用她的手机打出,在电话中她对那位妻子表示,她的丈夫已经背叛过她很多次,而且并未停手。有一通电话持续了28分钟,还有一通持续了11分钟。The wife, who cannot be named due to privacy laws, later decided to file a complaint and requested the examination of her phone records to trace the call.那位妻子,因为隐私法原因不能透露其姓名,后来决定提起诉讼,并要求对其通话记录进行彻查以追踪到呼叫人。According to a 2010 survey, half of Italians have extramarital affairs. The study by the Italian Association for Family Lawyers found that 55 per cent of men and 45 per cent of women cheat on their wives or husbands.据2010年的一项调查显示,半数意大利人有过婚外情。由意大利家庭律师协会进行的这项调查同时发现,55%的男性和45%的女性都曾出轨。In around half of cases, cheating partners are found out through indiscreet mobile phone text messages, emails betray one in five and a further one in 10 are given away by anonymous letters.在半数的出轨案件中,出轨一方是被言辞不检的手机短信出卖的,被邮件出卖者占五分之一,另有十分之一是被匿名信揭露的。 /201507/386273 Forgetting a dream from the night before isa frustrating part of the morning ritual for most people.大多数人每天早上醒来可能都想不起来自己昨晚到底做了什么梦,这确实令人头疼。But one Chinese dream catcher wants toimmortalise his in a book after waking up to write down his drearr for morethan 14 years.但是一名中国人想把自己的梦记录下来,所以过去14来,他每天晩上都会醒来记录下自己的梦境,现在他打算出书了。Peng Xinjian, 74, first made notesfollowing the death of his father in 2001 and his since gone on to doc umentl3,000, according to the People#39;sDaily Online.今年74岁的彭新建第一次记录梦是在2001年父亲去世后,从那以后开始记录下了13000个梦境,人民日报网站报道。He has filled 30 large notebooks with thevarious stories - anything from being chased by a frog to carrying rice- even grouping them into categories including family, war, friendsand celebrities.总共记录了30本大的笔记本,各种梦境。包括被一只青蛙追捕,到扛大米。还将这些梦进行分类,包括家庭,战争,朋友和名人。But by far the most frequent dreams tofeature in the two million words he has penned in his home in Changsha,south-central China, involve lost loved ones.此人来自湖南长沙,总共写下了200万字的梦境叙述,其中最经常出现的要数他去世的亲人们。He regularly has the same dream involving astrange wedding to someone other than his wife, who is twice his age. Xinjianbelieves it is because he and his wife never had wedding ceremony and that thisis his way of expressing regret.他经常做同一个梦,梦到自己和一个陌生人结婚,而不是和妻子结婚,而这名陌生人的年纪是他的两倍。他本人认为这是因为他和妻子从来没举行过婚礼,所以这是一种表达遗憾的方式。#39;Basically I will see my father severaltimes a month as well as my wife who passed away last year. Every year I willsee them in my dreams over 100 times,#39; he said.;基本上来说,我每个月都会梦见父亲几次,还会梦见我去年去世的妻子。每年我都会梦见他们100多次,;他说。But rather than being saddened by thememories they evoke, Xinjian says they allow him to live a more fulfilled life.这些梦境勾起了他的回忆,但是非但没有令他悲伤,反而让他过上了更加充实的生活。#39;Dreams are actually a gift from theheavens,#39; he said. #39;Even without a huge extension of life, through my dreams Ihave lived another life, occupying two worlds at the same time.“梦其实是上天给我们的礼物,”他说。“梦是另一种生活,所以我们得以同时生活在两种生活之中。”#39;Compared to those who do not dream I haveexperienced much more.#39;“相比于那些不做梦的人,我的经历的东西比他们多。”Xinjian, who often has several dreamsduring one sleep, has gone on to study dream interpretation and hopes to turnthem into a book.他睡觉时经常会做好几个梦,现在他在学习释梦,并旦希望出书。;My granddaughter would tell me everymorning her dream. My family find it interesting that I have this habit.;我的孙女每天早上也会告诉我她的梦境。我的家人觉得很有意思的是我也有这个习惯。”#39;I hope that those who have a same interestwill come together to decipher these dreams together.#39;;我希望有同样兴趣的人可以走到一起来解释这些梦。; /201503/367195泉州中医医院服务泉州市新阳光妇科贵不贵



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