“准时”这件事,在不同国家的含义差别竟然这么大?今天小编给大家带来了“准时”这件事，希望可以帮助到大家，下面小编就和大家分享，来欣赏一下吧。
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.
韩国在很多方面都是一个秩序井然的社会。儒学的影响贯穿着韩国人日常生活的方方面面。至少在理论上是这样。其中最核心的就是“面子”观念。因此，无论如何都要避免面对面的冲突，而避免任何不愉快的一个方法就是永远都准时。如果不遵守时间，就会被视为粗鲁可鄙的人。
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.
尽管日本赌客以出手阔绰闻名，但是日本人绝不跟时间赌博。迟到往往伴随着谦卑的道歉和深深的悔意。不过，在现代社会，随着全球标准的放低，日本年轻一代可不像老一代那样恪守时间了，如果你迟到了他们应该也不会太在意。
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.
在德国，准时到是有风险的，因为你的主人很可能早就在那里等候了，而且正在想你怎么会这么欠考虑，一点时间余量也不留，万一有意外耽搁了呢?
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’.
据说巴西人对迟到普遍都很宽容。举例而言，在社交场合准时到达被视为没礼貌。这很可能是因为主人都还没准备好接待他们的客人呢!尽管如此，如果你是到巴西参加重要商务会议的外国人，你最好不要效仿巴西人的做派，因为你不是巴西人，没有资格不守时。
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.
有些国家不在乎是否守时，沙特阿拉伯就是其中之一。这也许是因为沙特人历史上长期生活在沙漠里，而在那儿守时并不是人们在日常生活中要优先考虑的事情。可能是因为沙漠里太热了，没办法行云流水地做任何事情。不论是什么原因，不要期望你的主人会守时，也不要因此而心烦，更不要在工作会议或社交聚会上看手表，这是一种失礼的行为。
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.
加纳人非常放松、随和，他们认为如果大家都迟到，那就没人迟到。毕竟，今天做不了的事情可以等到明天再做。如果你认为这种态度难以接受，那就只能生闷气了。如若不然，你大可以和他们一样散漫。
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.
印度小说家R·K·纳拉扬曾写道：“在我们这样的国家，人们关注的是永恒，几乎注意不到时间的小碎片。”确实如此，印度语中表示昨天和明天的词都是kal，因此可以说印度人的时间概念和世界其他地方是不太一样的。除此以外，交通和基础设施的问题也会阻碍印度人守时。尽管如此，主人还是喜欢客人准时到达。只是不要指望主人也能守时。
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.
在希腊时，你要记住，希腊人是消磨时间而不是利用时间。换言之，在希腊，时间是用来享受的，而不是用来奔忙的。正因如此，希腊人在宴会上迟到30分钟很正常。不过，在商务会议上可不能这么散漫，与会者都应准时参加。你大概也猜到了，希腊主人无需守时。
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.
在俄罗斯做生意，守时很重要，否则就会被视为不尊重对方。讽刺的是，在守时这方面，俄罗斯人对待自己和别人是完全不同的标准，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.
常听人说，马来西亚人在私人和职场生活中都不守时。问问任何一个在马来西亚待过的外国人，他们大概都会一边抱怨一边表示赞同。当然，也不要忽略马来西亚人每天都要面对的混乱交通和蹩脚公交。所以尽管他们没有时间观念，但是背后也有实际原因。
有哪些老外的美食让中国人恶心?
Blue-mold cheese
蓝纹奶酪(科普贴：让 blue cheese 变蓝的霉菌就是青霉. 这种微生物将有机分子分解成简单平滑的纤维结构的奶酪，并与蓝奶酪混合成一种特殊的味道和气味。)
Maggot cheese
意大利蛆虫乳酪(科普贴：是一种被故意放养活蛆的奶酪。在经过高度的腐烂分解后，制成这种蝇蛆钻探、不断渗水的臭气弹。这种奶酪软软的，还具有奶油质地。我们会在婚礼或者家庭聚会上看到这种小吃。)
Goat Milk Cheese (because of the strong smell)
羊奶酪(气味强烈)
Eel pie (we are not against pie nor eel, it’s just the eel could use more chopping):
英国鳗鱼派(我们不是讨厌吃派或者是鳗鱼，就是麻烦切切好吗?)
Stargazy pie (I’m sure the taste is just fine. The issue is the fish-buried-alive look):
仰望星空派(我想说其实味道还不错，但问题是感觉鱼像是被活埋的。)
Steak Tartare
鞑靼牛排
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.
大部分法国料理，对于除法国以外的西方人也是觉得难以下口的，比如蜗牛、青蛙、兔子(甚至包括兔头)、牛舌，但是在我们大天朝看来都不在话下。
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.
随着玻璃外墙的高层公寓楼不断挤进城市天际线，就像在封闭花园里奋力生长的向日葵，一些业主和开发商开始意识到一个问题：直通天花板的落地玻璃也许带来了绝佳的风景，却少了挂出艺术作品的机会。而在买得起这类住宅的一小群人当中，艺术收藏者占了可观的比例，因此这个问题不可小视。
“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.”
“财富的轨迹是很基本的，”纽约房产经纪人伦纳德·斯坦伯格(Leonard Steinberg)说，他在房地产公司Compass的职衔很有创意，叫作首席布道师。“一开始是去很贵的餐厅，点高级红酒，让你请的客人对你刮目相看，”他说，然后就是豪车、豪宅和投资。“再然后做点什么来提高身分呢?买艺术品啊。”
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.
为了迎合收集沃霍尔和村上隆的这些有钱人，一些开发商在设计高层公寓楼时把艺术品展陈格外放在心上。比如在曼哈顿中城的东53街100号，一个245万美元起、最高超过900万美元的公寓项目，发展商RFR聘请了福斯特建筑事务所(Foster & Partners)来设计其中一些户型，要有下城画廊那种韵味和充足的墙面。
“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个真正为艺术藏家创造空间的开发商，”阿比·罗森(Aby Rosen)说，他是RFR的创始人和主持人之一，自己就是知名的艺术收藏家。“我很推崇这个。艺术会对你起作用。它把你带进历史，带进对文化的渴求。”
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这幢公寓楼的营销推广，最近一次带客人参观这些仓库风单位时，他指着绵延的混凝土墙面和磨光的混凝土地面说，“你去高古轩(Gagosian Gallery)或者保罗·卡斯明(Paul Kasmin)画廊看到的就是这种。”
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.
天花板贴有槽纹水泥板，用凹槽隔开，凹槽中可以安装灯光，布置对特定作品的照明。幕墙玻璃滤掉了紫外线，有助于保护珍贵的作品。
“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.
“这些空间有着当代高层建筑的各种好处，而老式的下城仓库风住宅那些毛病——吱嘎响的地板、地铁的轰隆——一概没有，”斯坦伯格说。
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.
为了把这个特点强调到极致，其中一套样板间干脆陈设成了一个画廊而不像个家，用上罗森收藏中的一系列当代作品，包括达明·赫斯特(Damien Hirst)、安迪·沃霍尔(Andy Warhol)和乔纳斯·伍德(Jonas Wood)的大尺幅画作，以及约翰·张伯伦(John Chamberlain)、乌尔斯·费舍尔(Urs Fischer)和豪尔赫·帕尔多(Jorge Pardo)的雕塑作品。对艺术的强调也反映到大堂，恭迎住户的是纽约艺术家瑞秋·费因斯坦(Rachel Feinstein)的一件场域特定作品，描绘了纽约市的诸多标志，包括帝国大厦、大都会博物馆，是专为本建筑委托创作。
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.
亲善艺术的做派吸引了英格丽·辛卡拉·吉尔伯特(Ingrid Cincala Gilbert)这样的买主，她是艺术投资咨询公司Cincala Art的当家人，买的是楼里一套偏传统的单位，使用了白橡木地板和石膏板墙面。
“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.
“把艺术当作这座建筑的故事里的重要角色，阿比·罗森的这种眼界对我特别有说服力，”辛卡拉·吉尔伯特说，她的许多客户在购买房产时都会考虑到艺术品的陈设。
“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.”
“如今我的客户们越来越多地想要和他们的艺术品朝夕相处，而不是存进库房，”她说。“问题是这种愿望有时候跟强调通透和大面积幕墙玻璃的当代建筑背道而驰，还有开敞式的格局。有时这就限制了或是彻底抹掉了艺术品的机会。”
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.
这也许就是为什么勒罗伊街160号公寓的楼面图不光展示户型，还标出了哪些墙面可以悬挂艺术品。该公寓由开发商伊恩·施拉格尔(Ian Schrager)与赫尔佐格和德梅隆建筑事务所(Herzog & de Meuron)联手打造，价格从450万到5000万美元不等。
“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.”
“我们就是觉得这么做很有意思，作为一种协助，去告诉可能的买主，哪些地方挂作品特别好，”施拉格尔说。“我们觉得艺术收藏是我们的买主当中很多人都会花心思去做的。”
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.
东88街180号，公寓售价从129.5万美元到逾600万美元不等，开发商DDG正在建这座50层砌石外观、墙体开窗的摩天楼，这就比幕墙玻璃建筑有了更多室内墙面留给艺术品。住宅内预装了挂画线，买主可以用挂链悬挂作品。
“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.”
“你看大都会那些博物馆就是这么挂画的，”DDG董事长兼首席执行官小约瑟夫·A·麦克米伦(Joseph A. McMillan Jr)说。在玻璃大楼里，“我们听一些顾客说没地方挂他们的画，”他解释说。“所以这个真能帮上忙。”
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建筑与装饰事务所的创办人戴维·曼(David Mann)说，他的事务所在设计穆雷街111号一幢新玻璃大楼里的公寓时，给艺术品展示留出地方也是放在首位的。那些公寓的报价从250万到4000万美元不等。
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.”
他的事务所试图在室内做出连续延展不被门打断的墙面，他说这样“就有了更大的平面可以容纳更大的作品。”
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.
在购买现成公寓秀出艺术收藏之外，很多藏家也诉诸定制，找到一对一的建筑师或室内设计师来解决他们特定的需求。
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.
曼的事务所最近为曼哈顿中城的一位藏家改造了一套公寓，设计大师马里奥·贝利尼(Mario Bellini)的胖乎乎的沙发现在摆到了客厅中央。空出来的墙面给了布鲁斯·瑙曼(Bruce Nauman)、黛博拉·卡斯(Deborah Kass)和唐纳德·贾德(Donald Judd)的作品。书房里，安装在墙上的低矮书架也给艺术品留出了展示空间。
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.”
曼还说，有的项目完全就是为一件藏品而做。“我们有的客户有很重要的藏品，我们一开始真的就只是考虑作品放在哪里，”他说，“然后再围绕它们来建造各个房间。”
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.
曼曾为某藏家设计了一面完美比例的墙，来展陈一幅某著名艺术家的极简主义名作(为保护客户隐私，他拒绝透露艺术家的名字)。曼在其上的天花板装了内嵌式的灯光，通过家具的布置把视线导向画作，花好几天试涂墙漆只为找到最适宜的白度。
All other design decisions were secondary, he said. The art was “the most important thing.”
所有其他的设计决策都是次要的，他说。艺术作品才是“重中之重。”
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