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郴州男科医院检查什么价格最新知识郴州市第四人民医院阳痿早泄价格

来源:99健康    发布时间:2019年10月22日 23:22:08    编辑:admin         

Where does a collection begin? In the mind and imagination of a designer, of course, but also in a physical space, an insider sanctum that is almost never seen by consumers: the office and atelier. In many ways, these private spaces reflect the choices and points of view that inform fashion as much as any runway show. If in doubt, simply consider the outtakes from a series of behind-the-velvet-curtain s in which designers from New York to Paris invited The New York Times into their professional lives. First up: Jason Wu, who opened his namesake label in 2006 and shot to fame as the designer of Michelle Obama#39;s inaugural gowns, in his New York office. (This interview has been edited and condensed.)装系列起源于何处?当然是起源于设计师的头脑和想像,但它也起源于一个物理空间,一个消费者几乎从未见过的密室:办公室/工作室。从很多方面讲,这些私人空间和时装秀一样能反映时尚选择和观点。如果你对此还有怀疑,那就来看看这一系列幕后视频:纽约、巴黎等地的设计师们邀请《纽约时报》走进他们的职业生活。首先登场的是吴季刚(Jason Wu),他在2006年开创了自己的同名时装品牌,因两次为米歇尔·奥巴马(Michelle Obama)设计就职典礼礼而声名鹊起。当然,这两件礼都是在他的纽约工作室里设计的(下面的访谈经过剪辑和浓缩)。Q. How long has this been your professional home?问:你在这里工作多久了?A. I#39;ve been in this office three years. I always wanted to be in the garment district because I make 90 percent of my production here, so I thought it was really important that I was very close to the work, and am still close to the work, and part of New York. It feels really very New York to me. You have people hauling fabric at 8 a.m., and tons of delivery trucks, and loud sirens.答:我在这个办公室工作三年了。之前我一直想搬到装区,因为我90%的装都是在这里生产的,所以我觉得离工厂很近真的很重要,我现在依然离工厂很近,同时也还在纽约市里。在我看来,这里真的很有纽约的感觉。早上8点就有人在搬布料,有很多运货卡车和喧嚣的汽笛声。And you moved here because you outgrew your previous space?问:你搬到这里是因为以前的地方不够用了吗?My last studio was 3,000 square feet, and this one is 10,000 square feet, plus I have another floor, so it#39;s six times the size maybe. My previous office was very primitive. I had painted the walls myself. I did charcoal gray and white. It was very minimal, not because we wanted it to be minimal, but because at the time we couldn#39;t afford anything. With this office I got to kind of explore and play. When I first moved here, it had red walls with gray carpet. It was some sort of a trading firm and it was like 10 offices on this floor, so we had to take everything out.答:我的上一个工作室有3000平方英尺,这个有10000平方英尺,另外还有一层,所以面积大概是原来的六倍。我之前的办公室非常简陋。墙都是我自己刷的。我刷成了炭灰色和白色。它是极简风格的,不是我们想让它成为极简风格,而是我们当时没钱。而这个办公室能够让我探索和玩耍。我刚搬到这儿时,墙是红色的,地毯是灰色的。好像之前是个贸易公司,这一层大概有十个办公室,所以我们必须把所有东西都扔掉。How did you choose your personal corner in this space?问:在这个空间里,你怎么选中了这个私人角落?This nook felt like the most private place in the office. It just felt like it was calling my name.答:这个角落好像是整个办公室里最私密的地方。我感觉它在呼唤我的名字。Is it important to you to have a place to retreat?问:有个休憩之处对你来说重要吗?Yes. My daily life is a lot of hustling and bustling, and a lot of insane moments, especially during fashion week. But sometimes you need that moment of quietness where you put the drapes up and kind of like have five minutes of ;do not disturb.; Not that it really ever happens. But I do start the day everyday here with my coffee. Email, phone calls — it all happens here.答:重要。我每天的生活都忙忙碌碌,有很多让人抓狂的时刻,特别是时装周期间。但有时你需要一个安静的时刻,可以拉上帷幕,拥有五分钟不被打扰的时间。虽然这并没有真的发生过。不过我总是在这里开始新的一天,写邮件、打电话都是在这里。How did you choose your desk?问:你是怎么选择书桌的?This is a vintage desk. I like that it#39;s kind of classic and wood and not your typical work desk. A lot of me is very traditional. I like old bones and classic furniture, and this kind of represents me very well.答:这是个古董书桌。我喜欢古典和木头的感觉,不喜欢典型的办公桌。我很大程度上非常传统。我喜欢老东西和古典家具,这很好地代表了我。And the chairs?问:这些椅子呢?These chairs are from DDC [the design firm]. I used to pass by it all the time as a student at Parsons, seven or eight years ago, and the one thing I wanted was these chairs in black and white. I finally got them.答:这些椅子来自DDC设计公司。七八年前我在帕森斯学院就读时经常路过那里,那时候我想要的东西就包括这些黑白两色的椅子。现在我终于拥有它们了。What#39;s on the shelves?问:书架上有什么?A lot of books. I buy books every week. I guess I#39;m a hoarder of books, but I love the way the paper feels, and the way they look and smell. There is a little cat that represents good fortune. I#39;ve always had this affinity for cats, so my parents gave me that when I was little, and I kept it. There#39;s a little clock, because I#39;m always late, so it#39;s kind of a nice reminder.答:很多书。我每周都买书。我觉得我是书籍囤积狂,但是我很喜欢纸的触感,喜欢它们的样子和味道。这个小猫代表好运。我一直喜欢猫,所以小时候父母给了我这个,我一直留着它。还有个小钟,因为我总是迟到,所以它是个很好的提醒。Do you draw your collection out first, or do you design on the computer?问:你是先把装系列画出来,还是在电脑上设计?I do everything by hand. Computers are only for emails. I#39;m a very computerless person normally. I still cut and paste and use glue and marker. Working with the hand is still the most appealing to me.答:我什么都动手做。电脑只用来收发邮件。总的来说,我是个不用电脑的人。我仍然手动剪贴,使用胶水和记号笔。动手工作依然是我最喜欢的方式。Is that wall made of corkboard?问:那面墙是用软木板做成的吗?Uh-huh. I have the need to pin everything, so you#39;ll see there is corkboard everywhere in my studio. It#39;s like a larger version of the fridge magnet situation, where you just put everything you know. I collect things I like to look at it, and it#39;s kind of become my little history. I build the walls every season according to the collection. Sometimes I start with a person, sometimes with a color, sometimes with an idea and sometimes with a combination of the three. In two weeks this will probably explode with many more pictures. And then, the day after the show, I#39;ll take it all down. It#39;s so liberating. It#39;s kind of the cycle of life.答:嗯哼。我需要把所有东西都钉到墙上,所以你会发现我的工作室里到处是软木板。它像个大号冰箱贴板,我可以把我知道的所有东西都贴在上面。我收藏我喜欢观看的东西,它有点像我的小小历史。我每一季都根据装系列来构建这个墙面。有时是某个人启发了我,有时是一种颜色,有时是一个概念,有时是以上三者的结合。在两周时间内,这面墙很可能会铺满很多图片。在时装秀的第二天,我会把它们全揭下来。有一种释放的感觉。它像是生命的轮回。Afterward, do you keep all the research and pictures or throw them away?问:之后,你会保留所有这些研究和图片,还是把它们都扔掉?I file everything into folders by season. Again, I#39;m a bit of a hoarder. I like to keep things that I looked at or have been inspired by, because I think at some point you do want to go back and have a look. Those are moments that can#39;t really be replaced. Like the note wall.答:我每一季都把所有东西归档。这再次表明我有点像囤积狂。我喜欢保存我看过的或者给过我灵感的东西,因为我觉得将来的某个时刻,你会想回头看一看。那些时刻是不能被代替的。比如那面便签墙。The note wall?问:便签墙?I always loved the idea of having stationery. I#39;m in the habit of writing notes, and when people write me notes it feels too special to throw away. I#39;ve been very fortunate to be able to meet so many different kinds of people who I never thought would a) know who I am, or b) even care. So I decided to put the notes up one section of the cork wall and not recycle them because they are something that can never be replicated again, and that is very, very dear to me. It#39;s become a bit of a project. Those I don#39;t take down.答:我一直很喜欢用纸笔的感觉。我有写便条的习惯,有人给我写便条时,我会觉得很特别,不舍得扔。我觉得自己非常幸运,能遇到这么多不同的人,我以前根本没想到他们竟会知道我是谁,更别说去在乎我。所以我决定把这些便签贴在软木墙上的一块地方,再也不取下来,因为它们是不能被复制的,对我来说特别特别珍贵。它变得有点像一个艺术作品。那些东西我不会取下来。 /201409/330097。

The Netherlands nudged past France and Switzerland as the country with the most nutritious, plentiful and healthy food, while the ed States and Japan failed to make it into the top 20, a new ranking released by Oxfam on Tuesday showed.周二牛津饥荒救济委员会发布的新排名显示,荷兰超过法国和瑞士,成为食物最有营养、最丰富和最健康的国家,而美国和日本却未能挤进前20名。Chad came in last on the list of 125 nations, behind Ethiopia and Angola, in the food index from the international relief and development organization.该机构的食物排名显示,出现在排行榜上的125个国家中,非洲国家乍得排在最后一名,落后于埃塞俄比亚和安哥拉。;The Netherlands have created a good market that enables people to get enough to eat. Prices are relatively low and stable and the type of food people are eating is balanced,; Deborah Hardoon, a senior researcher at Oxfam who compiled the results, said in an interview.汇总这些结果的牛津饥荒救济委员会的高级研究员德伯拉?哈尔顿说:“荷兰营造了一个良好的市场,让人们有足够的食物可以吃。食物价格也相对低廉和稳定,人们所持的食物种类也比较平衡。”Oxfam ranked the nations on the availability, quality and affordability of food and dietary health. It also looked at the percentage of underweight children, food diversity and access to clean water, as well as negative health outcomes such as obesity and diabetes.牛津饥荒救济委员会从获得食物的难易程度、食物的品质和价位以及膳食健康等方面来给各个国家排名。它还考虑了体重偏低的儿童比例、食物的多样性、获得清洁水源的难易程度,以及肥胖和糖尿病等负面健康结果。European countries dominated the top of the ranking but Australia squeezed into the top 12, tying with Ireland, Italy, Portugal and Luxembourg at No. 8.欧洲国家占据排名前列,不过澳大利亚也成功跻身前12名,和爱尔兰、意大利、葡萄牙和卢森堡并列排在第八名。The ed Kingdom failed to make the top 10, tying for the 13th spot, because of the volatility of its food prices compared to other goods, which Oxfam said is on a level with Peru (51), Malta (33) and Kyrgyzstan (65).英国未能跻身前十名,和其他的国家并排第13名,因为英国的食物价格相比其他商品浮动太大,牛津饥荒救济委员会说英国食物价格的不稳定性与排名第51的秘鲁、排名第33的马尔他和排名第65的吉尔吉斯斯坦持平。African nations, along with Laos (112), Bangladesh (102), Pakistan (97) and India (97), were predominant in the bottom 30 countries.非洲国家和老挝(112名)、孟加拉国(102名)、巴基斯坦(97名)和印度(97名)一起入列排名最末的30个国家。Although the ed States has the most affordable and good quality food, high levels of obesity and diabetes pushed the nation into 21st place in the ranking, tying with Japan, which scored poorly on the relative price of food compared to other goods.尽管美国的食物价格和质量都是最好的,但是美国肥胖和糖尿病的高发率使美国排在第21名,与日本并排,日本排名不佳是因为食品价格相对其他商品偏高。The Netherlands got top marks for its low food prices and diabetes levels, while Chad had the worst score for the cost of food in the country and the number of underweight children - 34 percent. The only countries where food is more expensive are Guinea and the Gambia, which were both at the lower end of the ranking.荷兰排名居首是因为食物价格低和糖尿病发病率低,而乍得排名最低是因为食物价格太高和体重不足儿童的数量太多(占据34%)。唯一食品价格比乍得还高的国家是几内亚和冈比亚,这两个国家都排名靠后。Burundi, Yemen, Madagascar and India have the worst rates of nutrition and the most underweight children, according to Oxfam.排名指出,布隆迪、也门、马达加斯加和印度的食物营养价值最低、体重不足的儿童也最多。Oxfam said the latest figures show 840 million people go hungry every day, despite there being enough food for the hungry. It called for changes in the way food is produced and distributed around the world.牛津饥荒救济委员会说,尽管有足够的食物给穷人吃,但每天还是有8.4亿人每天饿肚子。它呼吁改变食物生产的方式和在全世界分配的方式。Research suggests that climate change could raise the number of people at risk of hunger by 20 to 50 percent by 2050, according to the group.根据该组织,研究表明,气候变化将会在2050年前使饥饿人群的数量增加20%到50%。 /201401/273859。

Among the many acid pleasures of the work of Roberto Bola#241;o, who died at 50 in 2003, is his idea that culture, in particular literary culture, is a whore. In the face of political repression, upheaval and danger, writers continue to swoon over the written word, and this, for Bola#241;o, is the source both of nobility and of pitch-black humor. In his novel “The Savage Detectives,” two avid young Latino poets never lose faith in their rarefied art no matter the vicissitudes of life, age and politics. If they are sometimes ridiculous, they are always heroic. But what can it mean, he asks us and himself, in his dark, extraordinary, stinging novella “By Night in Chile,” that the intellectual elite can write poetry, paint and discuss the finer points of avant-garde theater as the junta tortures people in basements? The word has no national loyalty, no fundamental political bent; it’s a genie that can be summoned by any would-be master. Part of Bola#241;o’s genius is to ask, via ironies so sharp you can cut your hands on his pages, if we perhaps find a too-easy comfort in art, if we use it as anesthetic, excuse and hide-out in a world that is very busy doing very real things to very real human beings. Is it courageous to Plato during a military coup or is it something else?罗贝托·波拉尼奥(Roberto Bola#241;o)于2003年逝世,享年50岁,他的作品中有很多尖刻的欢乐,比如他认为文化是个婊子,特别是文学文化。面对政治压迫、巨变与危险,作家们依然迷恋文字,对于波拉尼奥来说,这是崇高感与黑色幽默的源泉。在他的小说《荒野侦探》(The Savage Detectives)中,两个热心的拉丁美洲年轻诗人一直都未失去对纯净艺术的信念,不管年龄增长,生活与政治发生变迁。他们有时很可笑,但他们一直都有英雄气概。但在他那非凡的、令人不安的中篇小说《智利之夜》(By Night in Chile)中,他问我们,也扪心自问:当军政府在地下室拷问他人的时候,知识分子精英能写诗,能绘画,能讨论先锋戏剧中更精妙的东西,这一切究竟有什么意义?文字没有国界、没有政治倾向;是任何想要成为主人者都能召唤出来的精灵。波拉尼奥的精灵以仿佛能切断读者双手般的犀利反讽发问:我们是不是太容易就在艺术中找到安慰,这个世界忙着对生活中真实的人们做出真实残酷的事情,而我们是不是太容易就把艺术当做麻醉、借口与隐藏之地了?在一场军事政变中阅读柏拉图究竟是一种勇敢,还是别的什么?“Nazi Literature in the Americas,” a wicked, invented encyclopedia of imaginary fascist writers and literary tastemakers, is Bola#241;o playing with sharp, twisting knives. As if he were Borges’s wisecracking, sardonic son, Bola#241;o has meticulously created a tightly woven network of far-right littérateurs and purveyors of belles lettres for whom Hitler was beauty, truth and great lost hope. Cross-referenced, complete with bibliography and a biographical list of secondary figures, “Nazi Literature” is composed of a series of sketches, the compressed life stories of writers in North and South America who never existed, but all too easily could have. Goose-stepping caricatures à la “The Producers” they are not; instead, they are frighteningly subtle, poignant and plausible. Like Leni Riefenstahl, the artistes Bola#241;o invents share a certain Romantic aesthetic, a taste for the classic and nonvulgar, a dislike of “cacophony” and a lurking sense that something has gone terribly wrong in the modern world — that children, for instance, have been “stolen and raised by inferior races” and that a better world in the form of the Fourth Reich is imminent. There is little to no mention of Jews or other undesirables; there are no death camps; World War II is a passing reference at best. Instead, with a straight face, Bola#241;o narrates the Nazi writers’ tireless imaginations, their persistence in the face of a world history that goes against them, their contrarian determination as they continue to write books that go un, unreviewed and largely unnoticed. They’re the losers but, with incredible passion, they remain steadfastly in denial of that fact, churning away at their refutations of Voltaire, Rousseau and Sartre; their verses vindicating Il Duce; their novels decrying the decline of piety; their Aryan literary societies. Like Riefenstahl, they find the highest beauty in a particular sort of symmetry and order that only in retrospect seems indubitably fascist. Horribly, persistently, they have a vision that they are incapable of giving up.《美洲纳粹文学》(Nazi Literature in the Americas)是一部顽皮的、杜撰出来的百科全书,里面记载了想象出来的纳粹作家和文学风潮领头人,书中波拉尼奥如同在挥舞一把犀利、扭曲的刀子。他仿佛尔赫斯(Borges)爱冷笑的淘气儿子,小心翼翼地创造出一张严密的,由极右文学家与美文创作者构成的大网,对于他们来说,希特勒意味着美、真理与伟大的失落希望。《美洲纳粹文学》由一系列人物速写组成,是虚构的南北美洲作家们的生平简史,还有参考书目和二流人物的传记书目为它提供相互参照和补充,但生活里很容易找到这样的人。他们并不是《金牌制作人》(The Producers)中踢着正步的漫画式人物,而是极度微妙、深刻、真实可信。波拉尼奥创造出的人物就像雷尼·瑞芬舒丹(Leni Riefenstahl)一样,信奉浪漫主义美学,有古典和新平民审美,讨厌“不和谐”,潜意识里认为现代世界是大错特错的——比如说,他们觉得孩子们“被低等种族偷窃和养育”,觉得在第四帝国统治之下,更好的世界近在眼前。书中没有提到犹太人和其他不受欢迎的人;也没有集中营;“二战”顶多只是已经过去的东西。相反,波拉尼奥一本正经地叙述纳粹作家们无穷尽的想象,他们一直顽强对抗着不利于自己的世界史,他们特立独行地写着无人阅读、无人、基本无人关注的书籍。他们是失败者,但又以惊人的热情,坚定不移地对抗他们是失败者这个事实,同时还不断驳斥伏尔泰(Voltaire)、卢梭(Rousseau)和萨特(Sartre);他们用诗歌为墨索里尼辩护、他们的小说哀悼神性的衰亡;他们结成雅利安文学社团。和瑞芬舒丹一样,他们在特定形式的对称与秩序中发现至上之美,这种对称与秩序人们只有在事后才觉得是法西斯主义无疑。他们有一种既可怕又顽固的幻觉,认为自己不能放弃。They are, in other words, writers. Substitute, say, “language poetry” for “fascism” and the trajectory of these invented lives would be much the same as they are for the busy networks of real writers Bola#241;o knew from the inside out. Whereas in “By Night in Chile” Bola#241;o’s dissection of hypocrisy and bad faith (the main character is a morally bankrupt priest allied with the junta) is swift and merciless, here it is not only as if the writer in him couldn’t keep himself from filigreeing in endless perfect and revealing details about his lost souls and their laughable oeuvres, but also as if he couldn’t entirely resist them. As a fellow traveler, he probably knew only too well what it is to pit the invented world on your ratty pages against the firmly stated values of the real world. The imaginary Ernesto Pérez Masón, who pounds away at his novella that is “an erotic and fiercely anti-U.S.A. fantasy, whose protagonists were General Eisenhower and General Patton”; the mysterious beauty Daniela de Montecristo, who loved Italian and German generals during World War II and wrote an epic novel called “The Amazons”; Max Mirebalais, the ceaseless plagiarist who sought to combine Nazism and negritude: the heinousness of their political philosophy is the only thing that distinguishes them from any writer, anywhere, at any time. Moreover, literature, Bola#241;o writes, “is a surreptitious form of violence, a passport to respectability, and can, in certain young and sensitive nations, disguise the social climber’s origins.”换言之,他们是作家。如果用“文体诗”取代“法西斯”,这些虚构人物的生命轨迹就和波拉尼奥熟悉的那些真实生活中忙碌的作家们没什么两样。然而在《智利之夜》中,波拉尼奥剖析出虚伪和坏的信仰是易变而残忍的(主角是一个道德败坏、与军政府合作的神父),而在这里,他心中作家的一面让他情不自禁地去浓墨重、栩栩如生地详尽描写这些失落的灵魂与他们的可笑行为;而且他似乎无法彻底否定他们。作为一个旅伴,他或许太了解如何在破损的书页上营造幻想的世界,以此抵御真实世界坚固不移的价值观。想象中的人物埃内斯托·佩雷斯·马松(Ernesto Pérez Masón)努力创作他的中篇小说,称之为“一出性幻想,也是激烈的反美狂想,主角是艾森豪威尔将军与巴顿将军”;神秘的美女达妮埃拉·德·蒙特克里斯托(Daniela de Montecristo)热爱“二战”期间的意大利和德国将军们,写了一部名叫《亚马孙人》的史诗小说;不知疲倦的剽窃者马克斯·米雷巴莱斯(Max Mirebalais)想把纳粹和黑人传统文化自豪感结合起来。这些人信奉凶残的政治哲学,这是他们与其他任何时代、任何地点的作家们之间的唯一区别。波拉尼奥写道,文学“是暴力的一种隐秘形式,是通往名望的通行,在某些年轻而敏感的国度,可以掩盖不择手段挤进上流社会者的出身”。Who said literature has no real power to affect history? Not Bola#241;o — for him, literature is an unnervingly protean, amoral force with uncanny powers of self-invention, self-justification and self-mythification. The mythmakers, he suggests, certainly do matter. If Hitler had won, for instance, the not entirely absurd stories in this encyclopedia would be the prevailing stories of the culture. Is Nazi poetry an oxymoron? Not a bit of it, posits Bola#241;o. On the contrary, it’s all too possible.谁说文学对历史没有影响力?波拉尼奥肯定不这么认为——对于他来说,文学令人不安地变化多端,是一种无关道德的力量,有着自我创造、自我辩解和自我神化的神秘能力。他认为,编纂神话的人确实非常重要。比如说,如果希特勒胜利了,这本百科全书中并非完全荒诞的故事会成为文学史上盛行的故事。“纳粹诗歌”是一种矛盾修辞吗?波拉尼奥认为,绝对不是。相反,它是非常有可能的。 /201407/308830。

When one is the monarch, one is used to being given a comfy seat in the front row.君主通常都习惯坐在舒的前排座位上。But yesterday the Queen found herself perched several rows back as she watched the Commonwealth Games swimming heats.然而昨天,英女王去观看英联邦运动会游泳预赛时却发现自己被安置在了倒数几排的位子上。She was given an ordinary plastic seat and then found her view obscured by a woman in a rather large hat.她坐的是普通塑料椅,而且很快发现自己的视线被前面一个带着大帽子的女士给挡住了。The offending spectator was her own lady-in-waiting, the Hon Annabel Whitehead, who made matters worse by having chosen a very similar shade of green in which to dress.这位冒犯女王的观众就是女王自己的侍女霍恩·安娜贝尔·怀特海德,而且更糟糕的是,她穿的绿色套裙与女王的着装颜色非常相近。Queen Elizabeth II spent most of her afternoon trying to improve her view - which was somewhat obscured by her lady-in-waiting#39;s enormous green hat.由于视线被侍女巨大的绿色帽子给挡住了,女王几乎一下午都在努力获得更好的视角。As the swimming races got off to an exciting start below, she could be seen craning her neck to try and get a better view over Mrs Whitehead.看台下,游泳比赛如火如荼地开始了,而她只能伸着脖子,试图避开怀特海德夫人看得更清楚些。The Queen began to look dejected as she dodged around her lady-in-waiting to catch a glimpse of the heats of the men#39;s 50m and women#39;s 100m butterfly.为了瞧一眼男子50米和女子100米蝶泳预赛,女王一直在努力避开侍女的遮挡,渐渐地看上去有些沮丧。At one point, she even appeared to sit back in exasperation, as fellow spectators around her got heavily involved in the races.有一刻,她甚至好像有点生气,直接往背后一靠,而她周围的观众倒是看得全神贯注。But it seemed the Queen was too polite to ask her lady-in-waiting to move - and instead spent her time dodging around Dame Whitehead as she moved position.不过,女王似乎不大好意思开口让自己的侍女让一让,所以只好随着侍女坐姿的变化不断调整视线。Dame Whitehead, 71, had aly risked royal disapproval by wearing a green ensemble similar to the Queen#39;s - which actually appeared to clash.71岁的怀特海德夫人还穿了一条与女王着装颜色很相近的绿色套裙,很显然撞了色,差点遭到皇室的反对。 /201407/315426。