time杂志亚洲版2006

time杂志亚洲版2006

李宇春是四川省成都人。

李宇春（Chris Lee），1984年3月10日出生于四川省成都市，中国流行女歌手、演员、词曲创作人、演唱会导演、玉米爱心基金终身形象代言人。

2005年，获”超级女声“全国总冠军，登上美国《时代周刊》（亚洲版）封面。2006年发行首张专辑《皇后与梦想》，创立品牌演唱会“WhyMe”。

2007年发行专辑《我的》并首次开展全国巡演，再登美国《时代周刊》（内页）。2008年发行专辑《少年中国》，获MTV亚洲音乐大奖中国最受欢迎歌手奖。2009年发行专辑《李宇春》，获亚洲音乐节亚洲最佳歌手奖。

李宇春的相关评价：

有着“舞台皇后”之称的李宇春不但拥有超高的发片效率，而且她的每一张专辑都曾获得过年度销售总冠军的荣誉，使得唱片连连出现供不应求的高人气表现。

她不仅只是一个简单的明星偶像代言词，李宇春这个名字已经拥有众多代号，同时也证明了中国偶像的世界影响力。她在成名之后，迅速登上美国《时代周刊》亚洲版封面，美国TODAY和英国BBC等国际媒体也纷纷专题报道，使其蜚声国际。

很多人都在探寻李宇春长红不衰的秘密，李宇春这么多年一直以来得到市场和口碑的双重认可，是因为李宇春是一个尊重自己内心的人，是一个不盲目随波逐流的人，她始终在流行最前沿、站在潮头，但实际上她自己跟流行的最前端始终保持着客观的、冷静的反思和距离。她真正做到了荣辱不惊。

时代周刊亚洲版是美国人写的吗

是。《Time/时代周刊（亚洲版）》美国主要时事周刊之一，内容广泛，对国际问题发表主张和跟踪报道国际重大事件，在美国颇有影响力。《时代周刊》是美国影响最大的新闻周刊，有世界“史库”之称。

《时代》周刊创刊于何时？

《时代》，创刊于1923年，是近一个世纪以来最先出现的新闻周刊之一，特为新的日益增长的国际读者群开设一个了解全球新闻的窗口。《时代》是美国三大时事性周刊之一，内容广泛，对国际问题发表主张和对国际重大事件进行跟踪报道。

《时代》有美国主版、国际版，以及欧洲、亚洲和拉丁美洲版。欧洲版（Time Europe，旧称Time Atlantic）出版于伦敦，亦涵盖了中东、非洲和拉丁美洲的事件，亚洲版（Time Asia）出版于香港，南太平洋版出版于悉尼，涵盖了澳大利亚、新西兰太平洋群岛。2018年12月，世界品牌实验室编制的《2018世界品牌500强》揭晓，《时代》排名第263。

2020年10月22日，美国《时代》周刊公布了最新一期封面，将“时代”二字改为“投票”。

扩展资料：

《时代》的分类化

《时代》创刊时宣称，它旨在使“忙人”能够充分了解世界大事。该刊的特色是将一周的新闻加以组织、分类，并提供背景材料，进行分析解释。《时代》的口号是：“《时代》好像是由一个人之手写出来给另一个人看的。

”它指出“它对各个领域的报道，都不是写给各个领域的专家看的，而是写给《时代》的‘忙人’看的。”

这样的报道方式一下就引起了读者的关注，当时美国的受众市场被众多的报纸所占领着，报纸的报道铺天盖地，但是却显得杂乱无章，让读者理不清头绪，无法在漫天的新闻中迅速地找到自己所最需要了解和关注的。这种新鲜新闻报道方式不同于美国报纸的传统的客观报道。

网上有没有《时代》亚洲版采访韩寒的那篇文章的原文？

　　这篇文章我也很有兴趣，读了几遍顺手翻译了下来，还参考了一下网上其它的翻译，所以。。。。我觉得可以献丑给你看一下。。。。嗯嗯

　　China’s Literary Bad Boy中国的文学坏男孩

　　Wildly popular novelist Han Han is the rebellious, potty-mouthed voice of a generation of disaffected Chinese youth. Why won’t the authorities shut him up?
　　超人气小说家韩寒是中国反叛的青少年一代的最叛逆和毒舌的声音。但是为什么当局没有让他——闭嘴？
　　【莹莹按】potty-mouthed翻译成毒舌，是不是很可爱。。。

　　By Simon Elegant
　　TIME November 2, 2009

　　On a recent afternoon at the Shanghai Tianma Circuit race-car track, the 1000-strong crowd was treated to the sight of one of the competitors—still dressed in his driver’s jumpsuit—walking slowly past the officials’ stand, one arm held aloft with the middle finger of his hand extended. “My only regret,” he later wrote on his blog, “is that I couldn’t show both fingers at the same time because I happened to be having a phone conversation.”
　　最近的某天下午，在上海天马赛车巡回赛的跑道上，千名之多的人群目睹了这样一位赛车手： 他穿着赛车服慢慢走过官方坐席（看台），伸出中指的手臂高高举起。“我唯一的遗憾，”后来他在博客中写道，“就是我没办法同时伸出两个中指,因为我正好在打电话。”

　　The driver was 26-year-old Han Han: best-selling novelist, champion amateur race-car driver, wildly popular blogger and , as his self-consciously provocative antics at the track underlined, China’s most media-savvy celebrity rebel. Since 2000, when he burst onto China’s literary scene at the age of 17 with his first best seller, Triple Gate, Han has shrewdly mined a seam of youthful resentment and anomie through his stories of anguished characters in their late teens and early 20s. One of China’s top-earning authors, he is widely seen as a torchbearer for the generation born after the beginning of the country’s opening to the outside world, a group the Chinese call the “post-‘80s generation”: apolitical, money- and status-obsessed children of the country’s explosive economic boom. Even China’s most notorious anti-Establishment figure, 52-year-old artist and activist Ai Weiwei, called Han “brave, clear-minded, dynamic and humorous” and predicted that he would be the “gravedigger” for the older generation of writers and artists.
　　这个赛车手就是26岁的韩寒：畅销小说家，冠军业余赛车手，超人气博客主，还有像类似刚才跑道事件一样，他故意出的“大洋相”使他成为中国最了解媒体的名人造反家。自从2000年17岁的他以第一部畅销书《三重门》打入中国文坛后，通过叙述极度痛苦彷徨的十几岁二十几岁时的人物故事，韩寒一直在老练的发掘着有关于愤怒感和失落感的青春伤痕。作为一个中国高收入作家，他被广泛认为是一个先锋，代表着改革开放后出生的被称为“80后”的一代人，他们是在中国爆发性经济繁荣中成长起来的孩子们，冷漠政治，热衷金钱和地位。就连中国最负盛名的反当局人物，52岁的艺术家社会活动家艾维维（诗人艾青之女）也称赞韩寒为“勇敢，头脑清楚，有活力，有幽默感”，并预言他将是老一代作家艺术家的“掘墓人”。
　　【莹莹按】1.你说 self-consciously provocative antics at the track underlined能翻译成啥？故意的”大洋相”够可以的了吧，对韩寒来说…
　　2.与其说“gravedigger”掘墓人，韩寒可能更喜欢大家说他是撕破伪善面具的人吧。

　　Han, a high school dropout, has built a franchise by tweaking his elders, once stating, “No matter how rude and immature they are, how unskillfully they write, the future literary world belongs to the post-‘80s generation. They must be more arrogant. A writer must be arrogant.” Yet despite his youthful bravado, Han, who has published 14 books and anthologies, generally stays away from sensitive issues such as democracy and human rights. His calculated rebelliousness, says Lydia Liu, a professor of Chinese and Comparative Literature at Columbia University, exemplifies the unspoken compact his generation has forged with the ruling Communist Party: Leave us alone to have fun and we won’t challenge your right to run the country. “He is known for being a sharp critic of the government and the establishment but he isn’t really,” says Liu. Instead, she says, Han is a willing participant in a process that channels the disaffected energy of youth into consumerism. “The language in his novels and the narrative strategies are very easy to read,” says Liu. ”Basically it’s all the same book.”
　　通过反抗父母而获得高中辍学权利的韩寒，曾经声明：“不管他们多么粗鲁和不成熟，不管他们写字多么不熟练，未来的文学世界将属于80后一代。未来他们一定是更自负的，一个作家本就应该是自负的。”尽管韩寒有着青春的冒险特质，已经出版了14本小说和选集的他大体上还是选择了远离敏感问题，比如民主和人权。哥伦比亚大学中国文学比较研究专业教授刘蕾加说，他的有度的逆反，是80后和执政党心照不宣的合约的例证：你别限制我们玩，我们也不会挑战你统治国家的权利。“他作为一个犀利的政府和政权的批评家而为人所知，但其实他并不是，”老刘说。她认为，相反韩寒是将青年反叛主义的能量导向消费主义的一个积极分子。“他小说中的语言和叙事策略非常易懂，”老刘说，“基本上它们都是一样的。”
　　【莹莹按】Lydia Liu—刘蕾加，什么破教授，顺手就翻了一名字。。

　　In person, Han, the son of an editor of a small Shanghai newspaper, is carefully groomed in an epicene, metrosexual way that is unusual among Chinese males of his age. Affable if slightly wary, he is an old hand at interviews, deftly batting away questions that don’t suit him, including most concerning the current state of Chinese literature and his place in it. “It’s stupid to try to evaluate one’s own works,” he says, lacing his answer with frequent expletives. ”If you are too humble, people won’t take you seriously; and if you think too highly of yourself, it’s not good for you either.” As for other writers, Han flaps a manicured hand: ”I don’t do this kind of comparison. And frankly， I don’t think your readers will be interested in Chinese literature at all.” Nor is he . “I don’t read fiction now,” he says. “All I read are magazines. I stopped reading books seven to eight years ago. I think I’ve read enough.”
　　作为上海一位小报编辑的儿子，韩寒以都市玉男型的方式，被精心培养，这是在同龄人中有所不同的。友善而稍警惕的态度，表明他在采访上已经是个老手了，他敏捷的绕开不喜欢的问题，包括关于现在中国文学的评价以及他在其中的地位。“试着去评价一个人自己的作品是愚蠢的，”他说，一边用一贯的批评修饰他的答案，“如果你太谦虚，人们就不把你当回事；如果你太自恋，这对你也不好。”说到其他作家，韩寒拍了一下他修过指甲的手：“我不做这种比较。而且实话说，我觉得你的读者一点都不会对中国文学感兴趣。”他也一样。“我现在已经不读小说了，”他说，“我读的全是杂志。从七八年前开始我就不再读书了。我觉得读的够多了”
　　【莹莹按】an epicene, metro sexual way 什么意思。。。

　　If Han seems flippantly dismissive on the subject of fiction, social and political issues draw a more serious response. Asked whether China will ever have a democratic system of government, Han becomes pensive: “I can accept the fact that there’s no real democracy or multiparty system in the country in the foreseeable future. There are more urgent and realistic issues, such as press and cultural freedom. At least those issues are not hopeless. And I prefer doing things that are not hopeless.”
　　虽然韩寒看起来对小说的话题不屑一顾，，但在社会和政治问题上他给出了更加严肃认真的回答。当被问到中国是否有过民主的政府体制是，韩寒变得深沉起来：“我可以接受在可预见的未来没有真正的民主或多党制这一事实。但还有更多紧迫和现实的问题，比如说强压和文化自由。至少这些问题不是徒劳的。而且我比较倾向于不会徒劳的事。”

　　Certainly, his fellow Netizens feel that his efforts are by no means hopeless. Han’s blog, which has registered well over 200 million hits since it was started in 2006, making him one of the most popular bloggers on the planet, covers everything from the minutiae of the amateur racing world to diatribes about the hot social issue of the day on the Internet. “Neither fame nor wealth have changed his honesty or the sharpness of his criticisms,” says novelist Zhang Yueran of Han. ”To me he’s like the little boy in The Emperor’s New Clothes, whose provocative attitude doesn’t allow people to be self-satisfied.”
　　当然，他的网络粉丝们决不觉得他的努力是徒劳的。韩寒的博客，包罗了从业余赛车的鸡毛蒜皮到对当日网上社会焦点的冷嘲热讽等一切，从2006年开博以后已获得2000万的点击率，使他成为星球上最有人气的博主之一。“名声和财富都没有改变他的诚实和犀利的批评，”小说家张悦然说，“对我来说他就像是《皇帝的新装》里面的那个小男孩，他的激进的态度让人们从自我满足中惊醒。”

　　At a time when China’s authorities appear to be continually increasing censorship of the Internet, it’s remarkable that Han has not been muzzled. But there apparently are limits even for rebels with no particular cause. Hans’s latest project is a literary magazine that remains nameless following a rejection by the government of Han’s proposed title, Renaissance of Art and Literature. Asked why the title was rejected, he blurts an expletive and launches into a characteristic rant: “Oftentimes [the authorities] are just messed up in the head. No one knows what they are thinking.” Least of all Han. ”Lots of people ask me how I strike a balance in my writing and not annoy the authorities,” he says. “The answer is, I don’t know.” Perhaps not, but this ignorance is bliss—for it allows Han to remain popular both with China’s hundreds of millions of readers and the authorities who would control what they read.
　　在中国当局对互联网的审查似乎越来越频繁的时候，韩寒没有被封口是非常值得注意的。但是显然就连反叛者，也有莫名其妙的限制。韩寒最近的计划是一份还没有名字的文学杂志，而他提出的“文艺复兴”的名字被有关部门否决。被问到为什么刊名被否决是，他爆出特有带着粗口和抗议的语调：“有时候[政府]就是脑子一团糟。没人知道他们在想什么。”最不过韩寒了。“很多人问我是怎样在写作和不惹怒当局之间找到平衡的，”他说，“答案就是，我不知道。”或许不是这样的，但无知是福—因为它可以让韩寒保持人气，在中国无数读者和控制无数读者读什么的政府之间。