明星资讯腾讯娱乐2019年10月21日 03:17:43
In his earliest memories, Zhang Wei recalls his mother singing and dancing in a theatrical troupe, performing operatic versions of Chinese folk tales. Like magic, she transformed from one character into another as Mr. Zhang watched from the wings.母亲在剧团里唱歌、跳舞,表演中国民间故事剧目,是张巍最早的记忆之一。他在舞台边上看到,母亲像变魔术一样,从一个角色转换到另一个角色。As the Cultural Revolution ended and China opened to the West, however, the troupe’s performances changed, adding outside influences and modern references to attract new audiences. The characters in those dramas struck him as absurd — neither “really Chinese nor really Western.”但是,随着文革结束,中国对西方开放国门,剧团的演出也发生了变化,开始把外界的影响和时新的关联添加进来,以便吸引新的观众。这种剧目中的人物让他感觉荒谬——“既不是真正的西方流行文化,又不是传统的中国戏曲。”Rapid economic growth, urbanization and sporadic political liberalization over the following decades, Mr. Zhang said, changed the country to such an extent that the Chinese people faced an existential challenge. Their identity seemed to be always in transition, he explained, shifting as rapidly as his mother did from one role to another.“Someone who used to be dirt poor can suddenly become a millionaire,” he said. “Then next day be put into prison.”张巍说,在随后的几十年里,经济快速增长、城市化,以及零星的政治自由化大大改变了中国,以至于中国人面临着一种存在的挑战。他们的身份似乎总是处在转型期,张巍解释说,就好像他母亲从一个角色转化到另一个角色。“今天是一个穷光蛋,明天可能就变成了百万富翁,”他说。“后天可能就进了监狱。”Mr. Zhang set out in 2007 to capture the “21st century mind-set” of the average Chinese person and photographed hundreds of people in simple, direct portraits. He abandoned the project two years later after being unable to depict the ephemeral nature of life amid dizzying change.张巍从2007年开始捕捉普通中国人的“21世纪的心态”,用简单直白的方式拍下数百人的肖像。两年后,他放弃了这个计划,觉得自己无法在令人目眩的变幻中描绘生命的短暂易逝。He had come to realize that in the modern world, people’s sense of identity is formed by mass media and advertising. Self-worth is measured against that of entertainers, leaders and heroes promoted by a consumer-driven society. In an effort to show how these external influences affect self-definition, he took elements of his earlier portraits of everyday Chinese people and combined them using Photoshop — and perhaps a touch of alchemy — to create virtual portraits of the personalities that, Mr. Zhang said, for better or worse, shaped today’s Chinese mind-set.他意识到,在当今世界,人们的身份感是由大众传媒和广告塑造的,自我价值是通过和艺人、领袖和英雄相比较来衡量的,而宣扬这些艺人、领袖和英雄的,是一个消费驱动的社会。在努力展示这些外部因素如何影响自我定义的时候,他把自己早期那些日常中国人肖像的元素引入其中,用Photoshop——也许还有些炼金术的作用——将它们组合在一起,创作出名人的虚拟肖像。张巍说,无论算好事还是坏事,这些名人都塑造了当今中国人的心态。Among them are Marilyn Monroe, Steve Jobs, Bruce Lee, John Lennon, Vladimir Lenin and the singularly named trinity of Elvis, Madonna.这些名人包括玛丽莲·梦露(Marilyn Monroe)、史蒂夫·乔布斯(Steve Jobs)、李小龙、约翰·列侬(John Lennon)、列宁(Vladimir Lenin),以及专门列出的猫王(Elvis)、麦当娜(Madonna)。Influenced by the Japanese computer game Artificial Girl 3, Mr. Zhang painstakingly combined an ear from one model, a wisp of mustache from another and a dimple from a third, often taking weeks at his computer to complete a single portrait. Thus the famous and the unknown “become a part of each other,” he said. At first glance the composite portraits seem real. But a double take reveals something slightly askew. He could create more precise images of his rich and famous subjects, but chose to “make them more absurd” by exaggerating a few characteristics.受到日本电脑游戏《人工少女3》的影响,张巍精心地把一个模特的耳朵,和另一个的胡子,以及第三个的酒窝结合起来。用电脑完成一副肖像常常要花上几周的时间。名人和普通人就这样“成为了彼此的一部分”,他说。乍一看,复合画像显得很真实。但是仔细观察,就会发现一些部分略微有些别扭。他本来可以把富人和名人的肖像制作得更加精确,但是决定通过夸大一些面目特征来“让他们显得更荒谬”。Mr. Zhang calls his project “Artificial Theater” because he sees his countrymen taking on a series of roles and discarding them as Chinese society changes. Indeed, everyone is like an actor, he said, “because to survive in this world sometimes you have to perform or act. Or even to be a hypocrite.”张巍把这个计划称为《人工剧团》,因为他认为,随着中国社会的变迁,他的同胞扮演了一系列角色,然后又丢弃了他们。事实上,每个人都像是演员,他说,“因为大家要生存都得学会表演,都得学得很虚伪。”The celebrities in his portraits are all easily recognizable to his Chinese audience. But the images to do not celebrate fame. Instead, they deconstruct the cult of celebrity. Mr. Zhang knows from his childhood that heroes come and go, depending on fashion and politics, and can even become villains. His famous subjects are not, he emphasized, necessarily his own heroes.中国观众可以很容易地辨认出这些肖像画中的名人。但是,这些作品并不是在颂扬名流。相反,它们解构了对名人的崇拜。儿时的经历让张巍知道,潮流和政治可以造就英雄,也让他们过气,甚至让他们成为反派。他强调,作品中的这些名人未必就是他自己的英雄。“I’m not trying to make any value judgments from an ideological point of view,” he said. “Who are really heroes worth looking up to, only history can tell.”“我对这些人没有具体的意识形态评价,”他说。“谁是真正值得仰视的英雄,只有历史才能决定。” /201606/451153




  Britain#39;s decision to leave the EU has led to a ;dramatic deterioration; in economic activity, not seen since the aftermath of the financial crisis.英国脱欧已导致经济活动“急剧恶化”,其严重程度为金融危机余波以来之最。Data from IHS Markit#39;s Purchasing Managers#39; Index, or PMI, shows a fall to 47.7 in July, the lowest level since April in 2009. A ing below 50 indicates contraction.研究机构IHS Markit数据显示,7月份英国采购经理人指数或PMI降至47.7,为2009年4月以来的最低水平。该指数降至50以下则意味着经济萎缩。The report surveyed more than 650 services companies, from sectors including transport, business services, computing and restaurants. It asked them: ;Is the level of business activity at your company higher, the same or lower than one month ago?; It also asked manufacturers whether production had gone up or down.这份报告调查了650多家务业公司,涉及到交通运输、商业务、计算机和餐饮业。这些公司需回答“贵公司商业活动与一个月前相比较为活跃,保持不变,抑或有所减弱?”调查中还询问了制造商的生产水平是上升了还是下降了。Record slump创纪录的下跌Chris Williamson, chief economist at IHS Markit, said the downturn had been ;most commonly attributed in one way or another to #39;Brexit#39;.; ;The only other times we have seen this index fall to these low levels, was the global financial crisis in 2008/9, the bursting of the dot com bubble, and the 1998 Asian financial crisis,; Mr Williamson told the B.IHS Markit首席经济学家克里斯·威廉姆斯称指数下降“很明显在这方面或那方面受到了英国脱欧的影响”。威廉姆斯先生还对B说:“指数下降到如此低的水平,我们只见过为数不多的几次:2008年9月的全球金融危机、互联网泡沫爆炸、1998年的亚洲金融危机。”The difference this time is that it is entirely home-grown, which suggest the impact could be greater on the UK economy than before.本次指数下降的不同之处在于它完全是内生性的,也就意味着它会对英国经济造成比以往更大的影响。Heading for recession走向衰退Samuel Tombs, chief UK economist at Pantheon Macroeconomics, said the figures provided the ;first major evidence that the UK is entering a sharp downturn;. Neil Wilson, markets analyst at ETX Capital, said he thought the UK was ;heading for a recession again;, and that the data would almost certainly prompt the Bank of England to roll out further stimulus.潘西恩宏观经济咨询公司首席经济学家塞缪尔·托姆斯称这些数据“首次印了英国经济正急剧下滑”。ETX Capital的市场分析师尼尔·威尔逊说,他认为英国“正再次走向衰退”,而且这些数据几乎一定会促使英格兰展开进一步的经济刺激计划。The pound has fallen in response to the publication of the data.数据公布后,英镑也随之下跌。The UK#39;s new chancellor, Philip Hammond, urged caution. ;Let#39;s be clear, the PMI data is a measure of sentiment, it#39;s not a measure of any hard activity in the economy. What it tells us is businesses confidence has been dented, they#39;re not sure, they#39;re in a period of uncertainty now.; Earlier on Friday, Mr Hammond said that he might ;reset; Britain#39;s fiscal policy.英国新任财政大臣菲利普·哈蒙德敦促各方警惕。“我们要清楚,PMI指数只能测量人们的情绪,却不能测量任何实体经济活动。它只能告诉我们商业信心受挫了,他们无法确定,他们正处于一种不确定的时期。”早在周五,哈蒙德先生就说他可能“重启”英国的财政政策。No surprise意料之中While IHS Markit#39;s ing on the UK economy was worse than most analysts expected, its verdict on the wider eurozone economy was more cheery.尽管IHS Markit的英国经济数据低于大多数分析师的期待,它对更广泛的欧元区经济状况判断却较为乐观。Europe Economics#39; Andrew Lilico, who argued during the referendum campaign that leaving the EU would be beneficial for the UK in the long term, told the B the PMI data was ;no surprise;, and that it ;doesn#39;t tell us much about what Brexit#39;s longer term impact will be;.《欧洲经济学》的安德鲁·利里克曾在公投期间声称离开欧盟会为英国带来长期效益,他对B说PMI数据在“意料之中”,它“并不能告诉我们英国脱欧会带来怎样的长期影响”。Mr Lilico said he always expected a short-term reaction, and those who voted to leave, ;expected a short-term slowdown too;.利里克先生说他早就预料到会有短期的反应,而且那些投票脱欧的人“也都预料到会带来短期的经济放缓”。 /201607/456458How best to solve the pollution problems of a city sunk so deep within sulfurous clouds that it was described as hell on earth? Simply answered: Relocate all urban smoke-creating industry and encircle the metropolis of London with sweetly scented flowers and elegant hedges.一座城市已经深深沉浸在硫磺雾霾之中,被称之为人间地狱,这样的污染究竟应当如何治理才好?很简单:把城市里所有制造浓烟的工业设施都搬出去,用散发扑鼻香味的花朵与优雅的树篱环绕伦敦。It sounds like one of those wonderfully daffy Fabian schemes for the betterment of mankind that were embraced by the likes of George Bernard Shaw and the Webbs. In fact, as Christine L. Corton, a Cambridge scholar, reveals in her engrossing and magnificently researched new book, “London Fog,” this fragrant anti-smoke scheme was the brainchild of John Evelyn, the 17th-century diarist. King Charles II was said to be “much pleas’d” with Evelyn’s idea, and a bill against the smoky nuisance was duly drafted. Then — it’s the mournful leitmotif of most of Corton’s tale — nothing was done. Nobody at the time, and nobody right up to the middle of the 20th century, was willing to put public health above business interests.这听上去很像萧伯纳(George Bernard Shaw)和韦伯夫妇(Webbs)等人喜欢的那种疯狂的、旨在改良人类的费边主义(Fabian)方案。事实上,剑桥学者克里斯汀·L·科顿(Christine L. Corton)在她引人入胜、研究周详的新书《伦敦雾》(London Fog)中写道,这种“芬芳抗烟方案”,是17世纪日记作家约翰·伊夫林(John Evelyn)的想法。据说,查理二世国王对伊夫林这个点子“非常满意”,一份相应的抗烟害法案也被拟定出来。之后——这其实是科顿一书悲哀的主旋律——就没有下文了。在那个时候,没有人愿意把公共健康置于商业利益之上,这种情况一直延续到20世纪中叶。And yet it’s a surprise to discover how beloved a feature of London life these multicolored fogs became. “I am their painter,” Whistler announced with characteristic modesty. Another dabbler, Claude Monet, fleeing besieged Paris in 1870, fell in love with London’s vaporous, mutating clouds. Perched in a riverside room at the Savoy, he looked upon the familiar mist as his reliable collaborator. Confronted by a distressingly untypical instance of fog-free skies, Monet grew desperate: “It seemed all my canvases were going for naught.” He had to bide his time until “little by little, as the fires were lit, the smoke and the mist returned.”然而,让人惊讶的是,这些五颜六色的雾霾却成了受人喜爱的伦敦生活一景。“我是雾霾的画家,”惠斯勒(Whistler)带着他典型的谦逊说。1870年,另一位画家克劳德·莫奈逃出遭围城的巴黎,爱上了伦敦蒸汽缭绕、如同变异的雾霭。他住在萨沃伊的一处河畔小屋,把常见的雾霭视为可靠的合作伙伴。如果哪一天意外放晴,空中没有笼罩雾霾,莫奈就会特别失望:“我的所有画布好像都要空白一片了,”他不得不等待,直到“随着一家家的炉火渐渐点燃,烟雾与雾霾终于又回来了”。Visitors from abroad may have delighted in the fog, but homegrown artists lit candles and vainly scrubbed the grime from their gloom-filled studio windows. “Give us light!” Frederic Leighton pleaded to the unmoved guests at a Lord Mayor’s banquet in 1882, begging them to have pity on the poor painter and his “interminable hours, days and weeks of enforced idleness spent in the continuous contemplation of the ubiquitous yellow fog.” J.M.W. Turner never finished his rendering of the smoke-swathed “Thames Above Waterloo Bridge” because it lacked a buyer.来自国外的访客们或许很喜欢雾霾,但本土艺术家们却得点上蜡烛,还得徒劳地从脏兮兮的画室窗子上擦去煤尘污垢。“给我们光!”1882年,弗里德里克·莱顿(Frederic Leighton)在一次市长大人举办的宴会上向无动于衷的宾客们请求,请求他们可怜可怜这个贫苦的画家,“日复一日,周复一周,他只能在那绵延不绝、无处不在的黄色雾霾中虚度时光。”J·M·W·透纳(J. M. W. Turner)始终未能画完那副弥漫烟雾的《泰晤士河上的滑铁卢桥》(Thames Above Waterloo Bridge)的草图,因为根本就没有买家。Writers were equally divided. In fiction, Robert Louis Stevenson deployed fog images and vaporous metaphors to create the sense of menace that enfolds the mysterious activities of virtuous Dr. Jekyll’s evil other. In life, the gentle author (who suffered from respiratory problems all his life) attributed his own profound depressions to “nothing more definite than a certain hue of brown,” that same “great chocolate-colored pall” that hangs over the villainous Hyde.作家们分成两派。在小说中,罗伯特·路易斯·史蒂文森(Robert Louis Stevenson)使用雾霭弥漫的形象和隐喻,创造出充满威胁的感觉,逐渐揭示出善良的杰克尔士(Dr. Jekyll)另一个邪恶人格所作出的神秘行为。在生活中,史蒂文斯是个温和的人,毕生都受呼吸道疾病困扰。他说自己深沉的抑郁感“不为别的,就因为这棕褐的色调”,这也正是邪恶的海德身上披挂的“巧克力色的尸衣”。In contrast, Dickens reveled in fog, characterizing it, above all in “Bleak House,” as a venomous, slithering presence — a force his admirer Joseph Conrad would aspire to match in “The Secret Agent.” Nathaniel Hawthorne, visiting the city, found moral lessons in London’s fog, while Henry James gave it a social aspect (dank mists swirl through his working-class scenes). Mark Twain, barely visible to the tiny audiences who stumbled into a mist-veiled London lecture hall to hear him talk about “roughing it,” cut short that dismal effort.与他相反,狄更斯陶醉在雾霾之中,为它赋予个性,特别是在《荒凉山庄》(Bleak House)中,把它描述为一种恶毒而滑动着的存在,一种力量,后来他的崇拜者约瑟夫·康拉德(Joseph Conrad)在《密探》(The Secret Agent)中也对之着力进行描写。纳撒尼尔·霍桑(Nathaniel Hawthorne)来访时,从伦敦的雾霾中找到了道德教训,而亨利·詹姆斯(Henry James)则为之赋予了社会意义(在他笔下的工人阶级场景中,总是缭绕着阴冷的雾霭)。马克·吐温(Mark Twain)到烟雾弥漫的伦敦演讲厅演讲“艰苦岁月”,只有为数不多的几个观众摸索着来到这里,几乎看不见台上的他,他只好缩短了这场不幸的讲演。Twain’s complaints about the impenetrable murk alert us to the fact that London’s yellow pea-soupers (a term that derives from a much despised broth) were not confined to its streets. It’s fine to stand snugly beside Arthur Conan Doyle at a (closed) window above Baker Street while Sherlock Holmes imagines a murderer prowling through the foggy depths below, “as the tiger does the jungle, unseen until he .” And it’s funny (but also disquieting) to learn of a post-World WarI service inside St. Paul’s Cathedral when the fog hung so thickly that the text (“I Am the Light of the World”) boomed down from a pulpit that was lost from view.吐温抱怨这团看不透的黑暗雾霾,这让我们知道,遍布伦敦的黄色浓雾(它还有个别名叫“豌豆汤”,是一种非常难喝的汤)不仅仅是街头才有。隔着贝克街一扇关闭的窗子,它紧贴在阿瑟·柯南·道尔(Arthur Conan Doyle)身边,令夏洛克·福尔斯(Sherlock Holmes)想象一个谋杀犯是如何悄悄走过浓雾,“如同猛虎走在丛林,只有突袭时才现出身形。”有意思的是(但也令人不安),书中记载,“一战”后圣保罗大教堂里的一次宗教仪式上,雾霾实在太浓重,讲坛上刻着的字(“我是这世上的光”)都看不见了。The more serious side of Corton’s book documents how business has taken precedence over humanity where London’s history of pollution is concerned. A prevailing westerly wind meant that those dwelling to the east were always at most risk. Those who could afford it lived elsewhere: The east, where the Thames flows to Gravesend, was abandoned to the underclass. Those with enough means could always take flight from the inconvenient fog; the real sufferers were those with no escape, the voiceless poor.科顿的书中更严肃的记载是关于伦敦污染史上,商业的考虑是如何战胜了人性。经常刮西风意味着住在东边的人要承担更多风险。有钱人纷纷搬家,而伦敦东部,也就是泰晤士河流入格雷夫森的地方,成了下层阶级居住的所在。有办法的人总可以经常逃离讨厌的雾霾,真正受苦的还要算那些无法逃脱的人,那些无法发出声音的穷人。East London’s slum dwellers were of no interest to Victorian champions of free trade like John Bright. (A man who might plausibly have jumped from the pages of “Hard Times,” Bright boasted of having shot down every anti-smoke bill proposed in Parliament.) Lord Palmerston spoke up for choking East Enders in the 1850s, pointing a finger at the interests of the furnace owners (all living outside London) as opposed to their victims (all haplessly resident). A bill was passed, but there was little change. Eventually, another connection was established: between London’s perpetual veil of smog and its citizens’ cozily smoldering grates. The conclusion was obvious. Sadly, popular World War I songs like “Keep the Home Fires Burning” didn’t do much to encourage the adoption of smokeless fuel.东伦敦的贫民区居民们对维多利亚时期约翰·布莱特(John Bright)这样的自由贸易捍卫者一点都不感兴趣(布莱特其人活像是从狄更斯的《艰难时世》小说里跳出来的一样,他自夸自己击败了议会中提出的所有反对雾霾的法案)。19世纪50年代,帕默斯顿勋爵(Lord Palmerston)曾经为受雾霾所苦的东区人说话,责备那些大熔炉的主人们(他们都住在伦敦城外),说他们站在自己的受害者们(所有不幸的居民们)的对立面。后来通过了一项法案,但几乎什么也没有改变。最后,人们发现伦敦持续不断的雾霾也应当归因为市民家里的舒适炉火。这个结论显而易见。悲伤的是,流行的“一战”歌曲,如《让家中的炉火继续燃烧》之类并不能敦促人们改用无烟燃料。It wasn’t until what came to be known as the “Great Killer Fog” of 1952 that the casualty rate became impossible to ignore and the British press finally took up the cause. Harold Macmillan made cynical use of his powers as minister of housing to ensure that lung-friendly decisions would not be taken. It was left to a bullish M.P., Gerald Nabarro, to steer the Clean Air Act into law in 1956. Within a few years, even as the war against pollution was still in its infancy, the ded pea-soupers began to fade into mythology.直到1952年著名的“杀人大雾”(Great Killer Fog)导致死亡率再也无法忽视,英国媒体才终于行动起来。哈罗德·麦克米伦(Harold Macmillan)动用房屋部长手中的关键权力,阻挠对呼吸有利的决策获得通过。直到1956年,固执的杰拉德·纳巴罗(Gerald Nabarro)下议员才努力令《空气清洁法案》得以通过。短短几年之内,虽然反对污染的战斗还处于初级阶段,但可怕的浓雾便已经开始退去,成了神话般的存在。Corton’s book combines meticulous social history with a wealth of eccentric detail. Thus we learn that London’s ubiquitous plane trees were chosen for their shiny, fog-resistant foliage. And since Jack the Ripper actually went out to stalk his victims on fog-free nights, filmmakers had to fake the sort of dank, smoke-wreathed London scenes audiences craved. It’s discoveries like these that make ing “London Fog” such an unusual, enthralling and enlightening experience.科顿的书把内容详实的社会历史和丰富的古怪轶闻结合起来。我们从中读到,伦敦之所以到处都有法国梧桐,主要是因为它们闪闪发亮的叶片能够抵御雾霾。“开膛者杰克”其实都是在没有雾霾的夜晚外出尾随受害者的,电影制作者们却要伪造出雾霾遍布的阴郁伦敦场景,满足观众们的期望。类似的知识令《伦敦雾》成为一次非比寻常、兴奋刺激而又充满教益的阅读体验。 /201511/408836

  As the globe frets over Brexit, China worries have been superseded — for now, at least. On Friday, the National Bureau of Statistics released a slew of second-quarter economic data. Headlining the figures, the country’s gross domestic product grew 10 basis points faster than forecast, up 6.7 per cent. The quality (not to mention reliability) of that growth is questionable.在全球为英国退欧而烦恼之际,中国引发的担忧已“退居二线”——至少目前是这样。上周五,中国国家统计局公布了一系列今年第二季度的经济数据。在这些数据中,最为重要的是中国国内生产总值(GDP)。今年第二季度,中国的GDP同比增长了6.7%,增幅比预期高了10个基点。这一增长的品质是值得怀疑的——更不用提其可靠性了。China is quieter these days regarding its desire to address economic imbalances. And Friday’s data show more clearly that the government has rowed back from reform in favour of stimulus measures, pumping money into the system to stabilise growth. Figures from the People’s Bank of China the same day showed that money supply growth was faster than expected, reaching levels last seen post 2008. New loans also rose by over 0bn, more than bn higher than economists’ estimates.近来,中国已不再像之前那样频繁地提及渴望解决经济失衡问题了。上周五的数据更为清晰地表明,中国政府已从改革的道路上回撤,转而力挺刺激性措施,将资金注入经济体系以稳定增长。同一天来自中国央行的数据显示,货币供应增速高于预期,达到了2008年后那段时期才有的水平。新增贷款也增长逾2000亿美元,比经济学家的估计高了逾500亿美元。Still, the data also show that China’s economic focus continues to shift. Retail sales grew faster than expected, with year on year growth accelerating from the first quarter. Consumption accounted for nearly three quarters of the first half’s GDP growth, according to the NBS. Meanwhile, fixed asset investment growth slowed. Yet the investment that did occur was largely state sponsored; private enterprises barely increased their spending.不过,数据也表明中国的经济重心在继续转移。社会消费品零售总额增长速度超过预期,同比增速高于今年一季度。中国国家统计局数据显示,上半年GDP增长近四分之三由消费贡献。与此同时,固定资产投资增长则已放缓。不过,真正发生的投资,资金大多来自国家;民营企业的开几乎没有增长。The reversion to state-led growth is unsustainable. Should China continue to shun reforms in favour of a quick fix, the short-term benefits of stabilised growth will be outweighed by the cost of persistent imbalances.这种向国家主导型增长的回归是不可持续的。如果中国回避改革而偏好快速解决方案,持续性失衡造成的损失将超过企稳的增长带来的短期好处。 /201607/455030




  About 13 percent of China#39;s mobile payment users suffered from fraud while nearly 90 percent among these couldn#39;t get back the money they lost, according to a report by China Union Pay, the country#39;s biggest bankcard association.根据中国最大的卡联合组织—中国银联表示,中国移动付用户中有13%经历过诈骗,而其中近90%的人没有追回损失。China Union Pay asked its 95 members to conduct the three-month survey under the guidance of China#39;s public security departments. It collected more than 100,000 valid responses.在中国公安部门的监管下,中国银联展发动95名员工,展开对移动付用户的付情况的问卷调查。收到了10万份有效回复。The online payment fraud rate in 2015 increased by 6 percent compared to that of last year as the new payment method showed strong momentum. Over 80 percent completed payment via their cellphones.随着越来越多新颖的付手段的兴起,2015年在线付比去年增长了6%。有超过80%的付通过手机完成。Yuan Xiaohan, general manager of the China Union Pay risk control department, said fraud occurred by cheating social-media accounts, credit card spending and consumer refunds.中国银联风险管理部总经理袁霄汉表示,付诈骗行为大多通过社交账号诈骗、信用卡提额、消费退款等手段而发生。Yuan said mobile payment security has become the main priority in user experience.袁经理说,手机移动付已经成为用户遭受欺诈的主要方式。According to the survey, nearly 90 percent of customers exposed to deception did not get compensation due to complicated processing, with the successful recovery rate at 4 percent.根据调查,由于操作步骤繁琐,近90%用户遭受过欺诈而没有索回损失,只有4%用户追回了损失。Meanwhile, consumer safety awareness is growing in terms of online transactions. About 87 percent of respondents think customer identity and transaction verification are necessary; while another 13 percent of consumers would prefer to adopt fingerprint recognition.与此同时,消费者在线付的安全意识在逐渐加强。87%的受访者表示消费者身份验和交易验是必需的,另外13%的消费者更喜欢指纹识别验。;If your smart phone caught a virus, you#39;d better turn to professionals and let them reinstall its system instead of restarting it yourself,; Yuan suggested.“如果你的手机中毒了,你最好找专业人员来重装系统,不要自己重启手机,”袁经理建议。In addition, purchasing fund-guarantee insurance is another method to recover online fraud losses, it was added.此外,购买资金保障险是追回网上交易欺诈损失的另一种方法。 /201512/419065


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