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hello~大家好~~明天是母亲节 记得给妈妈一个Kiss哟~啦啦啦啦啦
各位我在这里诚挚的给大家道个歉 关于字体 我自己也搞不明白 为什么除了SPEED TIME &OBSTACLE 的大小能够改变 文章内容的字体就变不了。。。。。。要不就是只有其中的一两个字可以改变 已经是好几次的出现这样的情况了 我到现在都还没有搞定 我真的是太笨了 所以这次的文章要是大家看到的字体很小 我是真的感到很对不起大家 作为一个发帖人连这个问题都一直没有搞定 真的是太惭愧了 真的对不起大家！不是求大家原谅 我想给大家解释一下 我会继续搞定它的！！！--ElenW
引经据典 from iamyingjie :ps: 还有一个小Tip, 队员们可以通过键盘的Ctrl+ 或者 Ctrl - 来调节屏幕的字体大小(用Ctrl+鼠标滚轮也有同样的效果哦～）
Are you ready?GO!
SPEED
[Time1]
Life is like a box of chocolate, you never konw what you are gonna get。
It includes happiness and sorrow, failure and success, hope and despair. Life is a learning process. Experiences in life teach us new lessons and make us a better person. With each passing day, we learn to handle various situations.
Materialistic happiness is short-lived, but it achieved by showing your smiles and transferring them to others can be lasting and get a certain sense of achievement. We,as a human being, should be aware of the importance of gratitude. Gratitude is the source of happiness or in other words, it is irrational to take others’ solicitude and love for granted
We realize the true worth of happiness when we are in sorrow. Sorrow is basically coming out when something is out of your plate like death of a loved one, failure and despair. However,all these matters are temporary and could pass away with time going by.
there is a motto:” failure is the mother of success.” Failure is untwined with success.It helps us to touch the sky, teach us to survive and show us a specific way to handle the complicated matters we are in face with in the daily basis.Success brings in money, fame, pride and self-respect. Here it becomes very important to keep our head on shoulder.
Hope is magic that pulls people out of the edge of despair and gives them the energy to go for a bright future.Life teaches us not to regret over yesterday, for it has passed and is beyond our control. Tomorrow is unknown, for it could either be bright or dull. So the only alternative is work hard today, so that we will enjoy a better tomorrow.
（289）
[Time2]
The Philippine Coast Guard on Friday admitted killing a fisherman from Taiwan, but it claimed that its personnel fired warning shots in self-defense.
In a statement issued at a news conference, the Philippine coast guard said that the Taiwan fishing boat repeatedly tried to ram the armed Filipino ship.
"We would like to convey our sincere condolences and apologies to the family of Mr Hung," he told reporters on Friday after talking with local authorities.
The personnel on the Philippine armed ship will be relieved during the investigation, he said.
Yang Yi, spokesman for the State Council's Taiwan Affairs Office, said on Thursday night that it was "barbaric" for the Filipino military to shoot the fisherman from Taiwan.
China strongly condemned the fatal attack and demanded that the Philippines investigate the incident thoroughly and quickly, he said.
"We are in deep mourning over the fisherman's death and express our condolence to the victim's family," he said.
Taiwan leader Ma Ying-jeou on Friday demanded an apology and compensation from the Philippines. He also urged the Philippines to investigate the incident and arrest those responsible.
Xu Liping, a researcher from the Institute of Asia-Pacific Studies of the Chinese Academy of Social Sciences, said that it was the most serious provocation from the Philippines for some time.
"The Philippines often shot at China's unarmed fishermen in the past, but this case is the most serious one within recent years," he said.
The Philippines' midterm elections will begin on Monday, and it's likely that the government will win elections through such provocations, he said.
The incident also provided an opportunity for the Chinese mainland and Taiwan authorities to cooperate in maintaining maritime interests, he said.
This incident has increased the tension in South China Sea waters, and the relationship between China and the Philippines will also be harmed by the provocation, said Li Guoqiang, deputy director of the Center for Chinese Borderland History and Geography at the Chinese Academy of Social Sciences.
Philippine authorities have always caused trouble in South China Sea waters, which undermines the peace and stability of the region, Li said.
（350）
[Time3]
ONE day a statue will be raised in honour of Valery Gergiev (pictured right), since 1988 the artistic director of the Mariinsky theatre in St Petersburg. It will stand between the old imperial Mariinsky theatre, a birthday gift from Emperor Alexander II to his wife, Maria in 1860, and the new one, which cost $700m and which Mr Gergiev opened on May 2nd, his 60th birthday. A powerful presence with dark hooded eyes, Mr Gergiev is a gift to the sculptor, even if it is hard to imagine the conductor ever being still.
The gala opening for the new Mariinsky captured the essence of the maestro. As Mr Gergiev plunged his orchestra into the dramatic Montagues and Capulets suite from Sergei Prokofiev’s “Romeo and Juliet”, the video backdrop showed a crystal ball flying through the new theatre: up the shiny staircases, through the foyer, in and out of the dressing rooms, over the rooftop and up into the sky.
Mr Gergiev too barely keeps his feet on the ground. Yet he stays focused on whatever he does, be it conducting Prokofiev or inspecting a building site. It has been this combination of focus and energy, despite the long years of stop-start planning, that has delivered the new Mariinsky.
In Russia Mr Gergiev is criticised for his loyalty to Vladimir Putin and for lending his talent to legitimise an increasingly repressive regime. The Mariinsky has clearly benefited from Mr Putin’s patronage; imperial theatre does not grow on its own.
To Mr Gergiev “imperial theatre” is a mark of quality rather than dependence. In terms of its excellence, philosophy and work ethic, the Mariinsky is less a façade for the modern Russian state as its direct antithesis. While the Kremlin grows increasingly isolationist, the Mariinsky is becoming ever more open and expansionist. Mr Gergiev’s next ambition is to beam the Mariinsky’s ballets and operas live in 3D format across the world.
The maestro is well aware that news coverage about Russia is dominated by stories of repression, killing and corruption, especially in the West. Addressing foreign journalists in impeccable English on the opening night, he explained: “Russia is seen very often as a country that thinks, but not always deeply enough, and acts maybe not always in the right way. The whole world makes mistakes, Russia included. And the whole world makes good things, thank God, Russia included.” Mariinsky II is a good thing.
（402）
[Time4]
Merkel flew to the northern city of Mazar-e-Sharif after sunrise on Friday. She was expected to stay only a few hours, said the spokesman. She was traveling with German Defense Minister Thomas de Maiziere.
On May 4, insurgents firing rockets killed a German soldier and wounded a second in northern Baghlan province. It was the first death of a German special-forces soldier in Afghanistan. Considered to be the military's elite forces, the German special-forces soldiers are similar to the US Navy SEALS. They were accompanying an Afghan-led military operation at the time. Since 2002, 35 German soldiers have been killed in Afghanistan.
At the northern Kunduz military base, Merkel and the defense minister laid a wreath at a memorial wall, which is etched with the names of the 35 German soldiers who have been killed in Afghanistan since 2002. The wreath, in honor of Germany's latest casualty, read only "Task Force 47, Special Forces", because special-forces soldiers remain anonymous even in death.
Merkel said Germany "will keep an eye on the political process moving forward here", German news agency DPA reported.
She emphasized Berlin's intention to continue its military involvement in Afghanistan after 2014 and encouraged other nations to follow suit. "Of course, the Bundeswehr has shown, across its area here, how international cooperation can work well," Merkel said.
With more than 4,000 troops deployed in northern Afghanistan, Germany is the third-largest international troop contributor in Afghanistan. Germany has pledged to leave 800 soldiers in Afghanistan after the NATO combat mission closes at the end of 2014.
The US is expected to keep about 10,000 troops in Afghanistan as a residual force after 2014, but no final decision has been made.
Germany's troops would stay until 2017 to provide training, advice and support for Afghanistan's security forces. They would be stationed in the capital, Kabul, and in Mazar-e-Sharif. After 2017 Germany has said it would be prepared to contribute 200 to 300 troops.
The final decision on Germany's post-2014 deployment will be made by the next German government following September elections. Polls show Merkel is likely to win a third four-year term.
The Afghanistan mission, while largely unpopular among Germans, is supported by Germany's mainstream political parties.
The country's offer of troops also requires an invitation from the Afghan government.
At a ceremony in Kabul on Thursday, Afghan President Hamid Karzai said he wanted each of NATO's 28 members to negotiate directly with his government about how many soldiers it wants to keep in Afghanistan, where they will be deployed and how the contingents would benefit the country.
Protracted negotiations between the US and Afghanistan over conditions for American troops after 2014 have so far not produced an accord. The US insists on immunity from local prosecution as a condition.
There were no plans for Merkel to meet with Karzai or talk to the Afghan president on the phone.
"It is only a visit of our troops," the German military spokesman said.
(492)
[Time5]
GENERAL JOSÉ EFRAÍN RÍOS MONTT, a former Guatemalan dictator, became the first person ever to be convicted of genocide in a court of his own country on May 10th. In a historic verdict in downtown Guatemala City, the 86-year-old was given the maximum sentence of 50 years for genocide and a consecutive 30 years for crimes against humanity.
He was sentenced by a judge who laid out in horrific detail how under his leadership the army had massacred, mutilated, raped, bombed and persecuted members of the Ixil Mayan community, including many children and elderly, during counter-insurgency operations 30 years ago. General Ríos Montt, she said, “knew everything that was going on, and he didn’t stop it, even though he had the power to do so.”
Amid cheers from the gallery and chaos in the courtroom, the judge, Jazmín Barrios, part of a three-person tribunal, immediately ordered General Ríos Montt to be taken to jail. Until then, he had been under house arrest. His conviction came a day after he broke a silence that he had maintained throughout weeks of testimony. He had hotly declared his innocence, showing particular antipathy to the charge of genocide, saying he had never authorised attacks on any ethnic group,
However, in reaching her verdict, the judge pointed to evidence of a pattern of army massacres that she said appeared to follow plans that were ordered from the top. In proving genocide, she said there was evidence that 5.5% of the Ixil ethnic group had been wiped out by the army, even though she said they were civilian farmers. And she said General Ríos Montt, knew what was going on in the villages where the massacres and bombardments were taking place, and didn’t order a halt to them. However, she acquitted his co-defendant, the general’s former intelligence chief, José Rodríguez Sánchez.
In her remarks the judge dwelt on the brutality that led to the killing of 1,771 Ixils, relayed by almost 100 witnesses during the trial that started on March 19th. She spoke of babies being killed in the womb, of gang rapes by soldiers, and of mass graves showing evidence of violent death. She praised the Ixil witnesses for speaking out about their suffering, noting that the psychological scars still persisted, even among generations who were not alive when the atrocities were committed.
Human-rights groups expect that the verdict will enable many Ixil people to feel that justice has been done. However, it may also stir up old wounds in a society that is still struggling with the legacy of a civil war in which 200,000 people died during 36 years of fighting that ended in 1996.
（442）
[The Rest]
As the trial reached its closing stages last month, prominent public figures, including President Otto Pérez, who was an army officer during the General Ríos Montt dictatorship from 1982-83, spoke out against the genocide charge. Some expressed concern that a conviction would effectively mean that the Guatemalan state had been found guilty of genocide, which could lead other Mayan communities who suffered during the war to bring their grievances to court. They worried that it could split an ethnically divided country. Also, they said that the stigma of being bracketed with countries like Rwanda and Nazi Germany is bound to hurt the pride of Guatemalan conservatives.
Nevertheless, analysts said General Ríos Montt’s defence lawyers at times verged on an absurd obsession with technicalities, which seemed aimed more at avoiding a verdict, rather than proving his innocence. At one stage last month, it looked like they had achieved an annulment of the trial. But Ms Barrios proved to be a more determined judge than they had bargained for. Her verdict, as well as providing a sense of justice to victims of General Ríos Montt’s dictatorship, shows a remarkably brave streak in a country where impunity for the strong against the weak has existed since colonial times.
OBSTACLE
NAPOLEON NEEDS TO MOVE US
Steven Spielberg’s recent announcement that he intends to adapt Kubrick’s script about Napoleon into a TV series has met with scowls from the usual suspects. How could cinema’s most ambrosial optimist, they asked, possibly do justice to its most intractable pessimist—its grandmaster, its Kasparov? The same thing happened the last time Spielberg attempted a mind-meld with Kubrick, for "A.I.", which was a misguided venture from the get-go—no voice as singular as Spielberg’s should sing karaoke. One wag said the film had "Spielberg’s intellect and Kubrick’s heart", it being the received wisdom in cineaste circles that analytical intelligence is a better trait in a film director than I-feel-you-bro warmth.
Is it, though? It is certainly a qualification for the job of film critic. I’ve long since given up trying to list the ways in which critics are out of touch with audiences, but if asked to name a single thing I would say: their underestimation of the audience’s wish to be moved. Thus Michael Haneke is praised for "never allowing an ounce of false sentiment into 'Amour'", "Lincoln" for eschewing "trademark Spielberg sentimentality"; and "Skyfall" is chided for allowing "sentimentality to cloud its judgment". You find yourself wondering which bit, exactly? The scene with the man-eating lizards, the crashing train or the shootout-with-shotguns at the end?
I’ve never trusted the accusation of sentimentality. It’s a conversation stopper rather than starter. It bullies with phony unanimity, and splinters upon contact into a hundred warring definitions. "To be sentimental is to be kitsch, phony, exaggerated, manipulative, self-indulgent, hypocritical, cheap and clichéd,” writes Carl Wilson in his marvellous book "Let’s Talk About Love", due to be reissued this year. It’s about learning to love Celine Dion, but also, by the by, about sentimentality’s demotion from a virtue in the 18th century—when Diderot demanded that art "move me, astonish me, break my heart"—to a 19th-century vice. "A sentimentalist," said Oscar Wilde, famously, "is simply one who desires to have the luxury of an emotion without paying for it", but what did Wilde ever do to earn his spurs as the authority on honest emotion? Not the guy you’d phone in a pinch, methinks.
The Victorian disdain for sentimentality was, in part, a reaction against the rise of potboilers and romances written by, or for, women—and all too often, it came down to discomfort about emotional displays of any kind. A similar chauvinism prevails at the movies, a medium born halfway between the limbic system and the Kleenex box. When the New York Times praised Martin Scorsese’s "Hugo", an evocation of cinema’s early days, for keeping "the treacle at bay", nothing would have struck the directors of that era as more heretical. Charles Chaplin, D.W. Griffith, Frank Capra and George Cukor prided themselves on the accuracy of their strike at the audience’s emotions. The problem with "Hugo" was not that it was too sentimental, but that it was not sentimental enough. Scorsese couldn’t summon the ease with emotions demanded by the material.
That is what makes him a modern artist, just as sentimentality is the modern sin. We thrill at the pitilessness of directors like Paul Thomas Anderson, Darren Aronofsky and David Fincher, and we haze old-school empaths like Spielberg until they repent. The granddaddy of them all—the original cold haddock—is Kubrick, who made movies much the same way he played chess, to win before you’d even taken your seat, hence the nagging suspicion—happily embraced by his fans—that the best thing to do with a Kubrick movie is not so much watch it as submit to it, the way you submit to a superior argument.
I’ve read his "Napoleon". Written in 1969, just after he completed "2001: A Space Odyssey", it is everything you might expect of the man who went on to make "Barry Lyndon": Olympian, exhaustively researched and chilly as a mausoleum.
The most telling scene comes early, with the young Napoleon teased by his school-mates for his ignorance of ice—a perfect torment for the man who will over-reach in the snowy wastes of Russia, like Jack Nicholson caught in a snowy maze at the end of "The Shining", the only Kubrick film after 1971 that really works, if only because the director seemed to be detailing his own chilly labyrinth. There are marvels here: a slow-motion cannonade, the sight of 30,000 extras rushing into battle, a Parisian orgy boasting only slightly less in the way of risk to life and limb. But there is also a lot of voice-over, saddled with the task of explaining over 50 years of Napoleonic history, and there are lines like "Citizens, word has come from Paris that the foul prison of Bastille has been captured!" One for the Guillotine.
Bonaparte himself remains a stiff, distant presence, a man already posing for his marble bust. The master strategist is here, but not the fiery Corsican who roused his men and sent them into battle, or the errant romantic who remained fascinated by dreams and what they could make men do. "You imagine that an enemy army is defeated by analysis?" he once said. "Never." If that sounds like anyone it is not Kubrick but Spielberg.
（867）
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发表于 2013-5-11 22:54:44
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