“準時”這件事,在不同國家的含義差別竟然這么大
“準時”這件事,在不同國家的含義差別竟然這么大?今天小編給大家?guī)砹恕皽蕰r”這件事，希望可以幫助到大家，下面小編就和大家分享，來欣賞一下吧。
“準時”這件事,在不同國家的含義差別竟然這么大
In many respects, South Korea is a very ordered society. The influence of Confucian principles runs through every aspect of day-to-day living. Well, in theory, at least. Central to this is Kibun, the concept of saving face. As a result, confrontation is to be avoided at all costs and one way to avoid any unpleasantness is to be on time, all the time. And to be lax in this regard is to mark oneself out as a cad and a bounder.
韓國在很多方面都是一個秩序井然的社會。儒學的影響貫穿著韓國人日常生活的方方面面。至少在理論上是這樣。其中最核心的就是“面子”觀念。因此，無論如何都要避免面對面的沖突，而避免任何不愉快的一個方法就是永遠都準時。如果不遵守時間，就會被視為粗魯可鄙的人。
Despite being famous for their high-rolling gamblers the Japanese just don’t gamble with time, where tardiness generally results in groveling and sincere expressions of deep regret. However, the modern world being what it is, young Japanese people may well be more comfortable with the remorseless global lowering of societal standards than older generations, and might not expect you to beat yourself up too badly should you be late.
盡管日本賭客以出手闊綽聞名，但是日本人絕不跟時間賭博。遲到往往伴隨著謙卑的道歉和深深的悔意。不過，在現(xiàn)代社會，隨著全球標準的放低，日本年輕一代可不像老一代那樣恪守時間了，如果你遲到了他們應該也不會太在意。
In the case of Germany, being on-time is a risky enough tactic as your hosts will probably already be there waiting, wondering how on earth you could be so foolish as to allow the possibility of some unforeseen circumstance delay you by so much as a second.
在德國，準時到是有風險的，因為你的主人很可能早就在那里等候了，而且正在想你怎么會這么欠考慮，一點時間余量也不留，萬一有意外耽擱了呢?
It has been said that in Brazil, there is a widespread tolerance for delays. For example, it is considered impolite to arrive on time for a social occasion. That is probably due to the fact that it is unlikely the hosts would even be ready to receive their guests! Having said that, if you are a visitor to the country and have an important business meeting, it’s probably best not to do as they do because, not being Brazilian, you haven’t earned the right to be on anything other than ‘English time’.
據(jù)說巴西人對遲到普遍都很寬容。舉例而言，在社交場合準時到達被視為沒禮貌。這很可能是因為主人都還沒準備好接待他們的客人呢!盡管如此，如果你是到巴西參加重要商務會議的外國人，你最好不要效仿巴西人的做派，因為你不是巴西人，沒有資格不守時。
Some countries don’t give timeliness a priority in their societies and Saudi Arabia appears to be one of them. It could be that the lack of importance attached to timeliness is as a result of their long history of desert living where punctuality doesn’t figure highly on the list of everyday priorities. It could be that it’s too damn hot to do anything at pace. Whatever the reason happens to be, don’t expect punctuality on the part of your hosts, don’t get upset by this and please, don’t start looking at your watch during a professional or social gathering. It is considered quite discourteous.
有些國家不在乎是否守時，沙特阿拉伯就是其中之一。這也許是因為沙特人歷史上長期生活在沙漠里，而在那兒守時并不是人們在日常生活中要優(yōu)先考慮的事情?？赡苁且驗樯衬锾珶崃?，沒辦法行云流水地做任何事情。不論是什么原因，不要期望你的主人會守時，也不要因此而心煩，更不要在工作會議或社交聚會上看手表，這是一種失禮的行為。
Ghanaians are a very relaxed and accommodating people who reckon that if everyone is late then no one is late. After all, what can’t be done today can get done tomorrow. If you find that kind of attitude difficult to deal with, prepare to be annoyed. Otherwise, sit back and enjoy the ride.
加納人非常放松、隨和，他們認為如果大家都遲到，那就沒人遲到。畢竟，今天做不了的事情可以等到明天再做。如果你認為這種態(tài)度難以接受，那就只能生悶氣了。如若不然，你大可以和他們一樣散漫。
The Indian novelist R.K Narayan once wrote that “In a country like ours, the preoccupation is with eternity, and little measures of time are hardly ever noticed”. Indeed, the Hindi word for yesterday and tomorrow is ‘kal’ so it’s fair to say that the concept of time differs slightly in India than it does in other parts of the world. To add to this, issues with traffic and infrastructure can also act as an impediment to timeliness. Still, it is appreciated if a guest is punctual. Just don’t expect that your host will always do the same.
印度小說家R·K·納拉揚曾寫道：“在我們這樣的國家，人們關(guān)注的是永恒，幾乎注意不到時間的小碎片。”確實如此，印度語中表示昨天和明天的詞都是kal，因此可以說印度人的時間概念和世界其他地方是不太一樣的。除此以外，交通和基礎(chǔ)設(shè)施的問題也會阻礙印度人守時。盡管如此，主人還是喜歡客人準時到達。只是不要指望主人也能守時。
When in Greece it is worth remembering that Greeks ‘pass’ the time as opposed to ‘use’ it. In other words, time is something to be enjoyed rather than fretted over. As such, it is not unusual to arrive 30 minutes later for a dinner party. However, this laxity does not extend to business meetings where visitors are expected to be on time. As you might have guessed, the same rule doesn’t always apply to your Greek hosts.
在希臘時，你要記住，希臘人是消磨時間而不是利用時間。換言之，在希臘，時間是用來享受的，而不是用來奔忙的。正因如此，希臘人在宴會上遲到30分鐘很正常。不過，在商務會議上可不能這么散漫，與會者都應準時參加。你大概也猜到了，希臘主人無需守時。
When doing business in Russia, it is important to be on time. To be otherwise is considered disrespectful. Ironically, Russians won’t hold themselves to the same standards of timeliness that they expect from you so, again, patience can be key.
在俄羅斯做生意，守時很重要，否則就會被視為不尊重對方。諷刺的是，在守時這方面，俄羅斯人對待自己和別人是完全不同的標準，所以耐心很重要。
It is often said that Malaysia has a very loose attitude toward punctuality in both the personal and professional sphere. Talk to any expat who has spent time there and they might grumble in agreement. However, this is to overlook the oft-times chaotic traffic and malfunctioning public transport that many Malaysians have to deal with on a daily basis. So while there might be a liberal attitude toward time keeping, there might also be practical reasons underlying this.
常聽人說，馬來西亞人在私人和職場生活中都不守時。問問任何一個在馬來西亞待過的外國人，他們大概都會一邊抱怨一邊表示贊同。當然，也不要忽略馬來西亞人每天都要面對的混亂交通和蹩腳公交。所以盡管他們沒有時間觀念，但是背后也有實際原因。
有哪些老外的美食讓中國人惡心?
Blue-mold cheese
藍紋奶酪(科普貼：讓 blue cheese 變藍的霉菌就是青霉. 這種微生物將有機分子分解成簡單平滑的纖維結(jié)構(gòu)的奶酪，并與藍奶酪混合成一種特殊的味道和氣味。)
Maggot cheese
意大利蛆蟲乳酪(科普貼：是一種被故意放養(yǎng)活蛆的奶酪。在經(jīng)過高度的腐爛分解后，制成這種蠅蛆鉆探、不斷滲水的臭氣彈。這種奶酪軟軟的，還具有奶油質(zhì)地。我們會在婚禮或者家庭聚會上看到這種小吃。)
Goat Milk Cheese (because of the strong smell)
羊奶酪(氣味強烈)
Eel pie (we are not against pie nor eel, it’s just the eel could use more chopping):
英國鰻魚派(我們不是討厭吃派或者是鰻魚，就是麻煩切切好嗎?)
Stargazy pie (I’m sure the taste is just fine. The issue is the fish-buried-alive look):
仰望星空派(我想說其實味道還不錯，但問題是感覺魚像是被活埋的。)
Steak Tartare
韃靼牛排
Most French cuisine, even dishes other westerners find unacceptable like snails, frogs, rabbits (even their heads), cow tongues, we Chinese are generally okay with them.
大部分法國料理，對于除法國以外的西方人也是覺得難以下口的，比如蝸牛、青蛙、兔子(甚至包括兔頭)、牛舌，但是在我們大天朝看來都不在話下。
在紐約這些精品公寓里,一切都關(guān)乎藝術(shù)
As glass condominium towers continue to push their way into city skylines like sunflowers squeezing up through walled gardens, some homeowners and developers have come to a realization: Floor-to-ceiling glass may provide breathtaking views, but it cuts down on opportunities for displaying art. And because art collectors represent a significant portion of the small pool of people who can afford homes in such buildings, that can be a problem.
隨著玻璃外墻的高層公寓樓不斷擠進城市天際線，就像在封閉花園里奮力生長的向日葵，一些業(yè)主和開發(fā)商開始意識到一個問題：直通天花板的落地玻璃也許帶來了絕佳的風景，卻少了掛出藝術(shù)作品的機會。而在買得起這類住宅的一小群人當中，藝術(shù)收藏者占了可觀的比例，因此這個問題不可小視。
“The trajectory of wealth is very basic,” said Leonard Steinberg, a New York broker with the creative job title of chief evangelist at the real estate company Compass. “It starts with going out to expensive restaurants and ordering fancy wine and impressing your guests,” he said, before moving on to luxury cars, homes and investments. “Then what do you do to get status? You buy art.”
“財富的軌跡是很基本的，”紐約房產(chǎn)經(jīng)紀人倫納德·斯坦伯格(Leonard Steinberg)說，他在房地產(chǎn)公司Compass的職銜很有創(chuàng)意，叫作首席布道師?！耙婚_始是去很貴的餐廳，點高級紅酒，讓你請的客人對你刮目相看，”他說，然后就是豪車、豪宅和投資?！霸偃缓笞鳇c什么來提高身分呢?買藝術(shù)品啊。”
To cater to wealthy people amassing Warhols and Murakamis, a number of developers are designing condo towers specifically with art display in mind. At 100 East 53rd Street in Midtown Manhattan, for instance, where apartments start at $2.45 million and run past $9 million, the development company RFR commissioned the architecture firm Foster & Partners to design some units with the vibe, and wall space, of a downtown gallery.
為了迎合收集沃霍爾和村上隆的這些有錢人，一些開發(fā)商在設(shè)計高層公寓樓時把藝術(shù)品展陳格外放在心上。比如在曼哈頓中城的東53街100號，一個245萬美元起、最高超過900萬美元的公寓項目，發(fā)展商RFR聘請了福斯特建筑事務所(Foster & Partners)來設(shè)計其中一些戶型，要有下城畫廊那種韻味和充足的墻面。
“I would love to be recognized as a developer who creates spaces that are really geared for an art collector,” said Aby Rosen, a co-founder and principal of RFR and a prominent art collector himself. “I’m a big advocate. Art does something to you. It connects you with history. It connects you with the desire for culture.”
“我很希望被看作是一個真正為藝術(shù)藏家創(chuàng)造空間的開發(fā)商，”阿比·羅森(Aby Rosen)說，他是RFR的創(chuàng)始人和主持人之一，自己就是知名的藝術(shù)收藏家?！拔液芡瞥邕@個。藝術(shù)會對你起作用。它把你帶進歷史，帶進對文化的渴求?！?/p>
On a recent tour of the loft-style units, Mr. Steinberg, whose company is handling sales and marketing for the building, pointed to the uninterrupted expanses of concrete walls and also to the polished concrete floors. “It’s the kind that you may see when you go to a Gagosian Gallery or Paul Kasmin gallery,” he said.
斯坦伯格所在的公司承接了這幢公寓樓的營銷推廣，最近一次帶客人參觀這些倉庫風單位時，他指著綿延的混凝土墻面和磨光的混凝土地面說，“你去高古軒(Gagosian Gallery)或者保羅·卡斯明(Paul Kasmin)畫廊看到的就是這種?！?/p>
The ceilings are finished with fluted concrete panels separated by slots that allow lighting to be installed and arranged to illuminate particular works. The exterior glass filters ultraviolet rays to help protect precious pieces.
天花板貼有槽紋水泥板，用凹槽隔開，凹槽中可以安裝燈光，布置對特定作品的照明。幕墻玻璃濾掉了紫外線，有助于保護珍貴的作品。
“These spaces have contemporary high-rise benefits, but all the attributes of a downtown loft — without the creaking floors and subway rumble,” Mr. Steinberg said.
“這些空間有著當代高層建筑的各種好處，而老式的下城倉庫風住宅那些毛病——吱嘎響的地板、地鐵的轟隆——一概沒有，”斯坦伯格說。
To hammer that point home, one of the model units is staged as a gallery rather than a home, with a trove of contemporary works from Mr. Rosen’s collections, including large-scale canvases by Damien Hirst, Andy Warhol and Jonas Wood, and sculptures by John Chamberlain, Urs Fischer and Jorge Pardo. The building’s focus on art extends to the lobby, too, where residents are greeted by a site-specific work by Rachel Feinstein that depicts New York City icons, including the Empire State Building and the Metropolitan Museum of Art, commissioned specifically for the building.
為了把這個特點強調(diào)到極致，其中一套樣板間干脆陳設(shè)成了一個畫廊而不像個家，用上羅森收藏中的一系列當代作品，包括達明·赫斯特(Damien Hirst)、安迪·沃霍爾(Andy Warhol)和喬納斯·伍德(Jonas Wood)的大尺幅畫作，以及約翰·張伯倫(John Chamberlain)、烏爾斯·費舍爾(Urs Fischer)和豪爾赫·帕爾多(Jorge Pardo)的雕塑作品。對藝術(shù)的強調(diào)也反映到大堂，恭迎住戶的是紐約藝術(shù)家瑞秋·費因斯坦(Rachel Feinstein)的一件場域特定作品，描繪了紐約市的諸多標志，包括帝國大廈、大都會博物館，是專為本建筑委托創(chuàng)作。
This art-friendly attitude has attracted buyers like Ingrid Cincala Gilbert, principal of the art consulting firm Cincala Art, who bought one of the building’s more conventional units, with white-oak floors and drywall.
親善藝術(shù)的做派吸引了英格麗·辛卡拉·吉爾伯特(Ingrid Cincala Gilbert)這樣的買主，她是藝術(shù)投資咨詢公司Cincala Art的當家人，買的是樓里一套偏傳統(tǒng)的單位，使用了白橡木地板和石膏板墻面。
“The vision that Aby Rosen had for making art an important character in the story of the building was really compelling to me,” Ms. Cincala Gilbert said, noting that many of her clients had art display in mind when buying real estate.
“把藝術(shù)當作這座建筑的故事里的重要角色，阿比·羅森的這種眼界對我特別有說服力，”辛卡拉·吉爾伯特說，她的許多客戶在購買房產(chǎn)時都會考慮到藝術(shù)品的陳設(shè)。
“More and more these days my clients are interested in living with their art, as opposed to having to store it,” she said. “The trouble is sometimes this can be at odds with contemporary architecture, with the emphasis on transparency and expansive areas of exterior glass, and also open floor plans. Sometimes, this can really restrict or remove altogether opportunities for art.”
“如今我的客戶們越來越多地想要和他們的藝術(shù)品朝夕相處，而不是存進庫房，”她說?！皢栴}是這種愿望有時候跟強調(diào)通透和大面積幕墻玻璃的當代建筑背道而馳，還有開敞式的格局。有時這就限制了或是徹底抹掉了藝術(shù)品的機會?！?/p>
That may help explain why floor plans for apartments at 160 Leroy Street, which the developer Ian Schrager conceived with the architecture firm Herzog & de Meuron, and which are priced from $4.5 million to $50 million, are labeled with room types and also with wall locations where works might be displayed.
這也許就是為什么勒羅伊街160號公寓的樓面圖不光展示戶型，還標出了哪些墻面可以懸掛藝術(shù)品。該公寓由開發(fā)商伊恩·施拉格爾(Ian Schrager)與赫爾佐格和德梅隆建筑事務所(Herzog & de Meuron)聯(lián)手打造，價格從450萬到5000萬美元不等。
“We thought it would just be an interesting thing, as an assist, to let prospective buyers know where would be great places to hang art,” Mr. Schrager said. “We thought that collecting art would be something that a lot of our buyers would be focused on.”
“我們就是覺得這么做很有意思，作為一種協(xié)助，去告訴可能的買主，哪些地方掛作品特別好，”施拉格爾說。“我們覺得藝術(shù)收藏是我們的買主當中很多人都會花心思去做的?！?/p>
At 180 East 88th Street, where apartments start at $1.295 million and run past $6 million, the development company DDG is building a 50-story masonry skyscraper with punched windows, which leaves more wall space for art than a building with a glass curtain wall. Units are equipped with picture rails that allow buyers to install art on chains.
東88街180號，公寓售價從129.5萬美元到逾600萬美元不等，開發(fā)商DDG正在建這座50層砌石外觀、墻體開窗的摩天樓，這就比幕墻玻璃建筑有了更多室內(nèi)墻面留給藝術(shù)品。住宅內(nèi)預裝了掛畫線，買主可以用掛鏈懸掛作品。
“You see museums such as the Met hang art that way,” said Joseph A. McMillan Jr., the chairman and chief executive of DDG. “We have heard buyers say that there’s nowhere to put their art” in glass towers, he noted. “So this really does help serve that.”
“你看大都會那些博物館就是這么掛畫的，”DDG董事長兼首席執(zhí)行官小約瑟夫·A·麥克米倫(Joseph A. McMillan Jr)說。在玻璃大樓里，“我們聽一些顧客說沒地方掛他們的畫，”他解釋說?！八赃@個真能幫上忙?！?/p>
David Mann, the founder of MR Architecture & Décor, said that creating places to display art was also a priority when his firm designed the condos in a new glass tower at 111 Murray Street, where units are priced from $2.5 million to $40 million.
MR建筑與裝飾事務所的創(chuàng)辦人戴維·曼(David Mann)說，他的事務所在設(shè)計穆雷街111號一幢新玻璃大樓里的公寓時，給藝術(shù)品展示留出地方也是放在首位的。那些公寓的報價從250萬到4000萬美元不等。
His firm sought to create wide expanses of interior walls that are not interrupted by doors, he said, so that “there are larger planes that can hold a bigger piece.”
他的事務所試圖在室內(nèi)做出連續(xù)延展不被門打斷的墻面，他說這樣“就有了更大的平面可以容納更大的作品?！?/p>
Rather than buy a preconfigured apartment to show off an art collection, many collectors go the custom route and work one-on-one with an architect or interior designer to address their specific needs.
在購買現(xiàn)成公寓秀出藝術(shù)收藏之外，很多藏家也訴諸定制，找到一對一的建筑師或室內(nèi)設(shè)計師來解決他們特定的需求。
For one collector in Midtown Manhattan, Mr. Mann’s firm recently renovated an apartment where plump sofas by Mario Bellini now float in the middle of the living room. The liberated wall space is devoted to works by Bruce Nauman, Deborah Kass and Donald Judd. In the study, low, wall-mounted bookcases also free up display area.
曼的事務所最近為曼哈頓中城的一位藏家改造了一套公寓，設(shè)計大師馬里奧·貝利尼(Mario Bellini)的胖乎乎的沙發(fā)現(xiàn)在擺到了客廳中央?？粘鰜淼膲γ娼o了布魯斯·瑙曼(Bruce Nauman)、黛博拉·卡斯(Deborah Kass)和唐納德·賈德(Donald Judd)的作品。書房里，安裝在墻上的低矮書架也給藝術(shù)品留出了展示空間。
Some projects, Mr. Mann said, are in complete thrall to a collection. “We have clients who have important works where we have actually started the project by isolating where they will go,” he said, “and then building the rooms around them.”
曼還說，有的項目完全就是為一件藏品而做。“我們有的客戶有很重要的藏品，我們一開始真的就只是考慮作品放在哪里，”他說，“然后再圍繞它們來建造各個房間?！?/p>
For one such collector, Mr. Mann designed a wall with ideal proportions to display a Minimalist masterwork by a renowned artist (he declined to disclose the artist’s name to protect his client’s privacy). Mr. Mann added recessed lighting in the ceiling above, arranged the furniture to funnel views toward the artwork and spent days experimenting with wall paint to find the most complementary shade of white.
曼曾為某藏家設(shè)計了一面完美比例的墻，來展陳一幅某著名藝術(shù)家的極簡主義名作(為保護客戶隱私，他拒絕透露藝術(shù)家的名字)。曼在其上的天花板裝了內(nèi)嵌式的燈光，通過家具的布置把視線導向畫作，花好幾天試涂墻漆只為找到最適宜的白度。
All other design decisions were secondary, he said. The art was “the most important thing.”
所有其他的設(shè)計決策都是次要的，他說。藝術(shù)作品才是“重中之重?！?/p>
“準時”這件事,在不同國家的含義差別竟然這么大相關(guān)文章：
★ 湖南鳳凰導游詞
“準時”這件事,在不同國家的含義差別竟然這么大
