Take the chapters on economising, for instance. Gurley Brown advised women to brush their teeth with baking soda, negotiate with everybody, ride a bike to work and stay out of debt. She taught readers how to build a conservative portfolio of equities and what to deduct from their taxes at a time when Suze Orman was still in culottes.
Culottes is a word that originated in the French language. Historically, "culottes" referred to the knee-breeches commonly worn by gentlemen of the European upper-classes from the late Middle Ages or Renaissance through the early nineteenth century. This style of tight pants ending just below the knee was first popularized in France during the reign of Henry III (1574–1589).[1] Culottes were normally closed and fastened about the leg, to the knee, by either buttons, a strap and buckle, or by a draw-string. During the French Revolution of 1789–1799, working-class revolutionaries were known as the "sans-culottes" – literally, "without culottes" – a name derived from their rejection of aristocratic apparel.[2] In the United States, only the first five presidents, from George Washington through James Monroe, wore culottes according to the old-fashioned style of the eighteenth century.[3][4]
culottes[cu・lottes]
- 発音記号[kjúːlɑts | kjuːlɔ'ts]
2012.4.28
Amazon Stock Soars on Rapid Sales Growth
Amazon's
aggressive spending translated into another quarter of outsize growth.
Investors looked past the 35% drop in profit, and shares jumped nearly
13% in after-hours trading.
英國公佈銀行業全面改革計劃UK banks face tough new raft of reforms英國《金融時報》 記者 報導
Britain's banks will be forced to boost their capital and separate core operations from riskier trading and investment banking at an annual cost of up to £7bn ($11bn), under sweeping reforms announced on Monday.
根據周一公佈的全面改革計劃，英國各銀行將被迫提高資本水平，並以每年最高70億歐元(合110億美元)的代價，將核心業務和風險更高的自營交易業務與投資銀行業務分離開來。The final recommendations of the Independent Commission on Banking, chaired by Sir John Vickers, call for a bank's ringfenced operation to have its own board of directors and equity capital equivalent to 10 per cent of risk-weighted assets.
約翰•維克斯爵士(Sir John Vickers)領銜的英國銀行業獨立委員會(Independent Commission on Banking)公佈了最終改革建議，要求銀行被“圈護”的業務部分設立獨立的董事會，且被圈護部分的股本佔風險加權資產的比例須達到10%。But in crucial concessions, the banks will be able to chose which non-core businesses to place inside the ringfence, with a deadline of 2019 to implement some of the toughest measures in the world.
但建議也存在重大的讓步，即各銀行將可以自行選擇將哪些非核心業務放入圈護範圍，而且儘管建議中包括了一些世界上最嚴格的監管措施，但最後執行期限設定在2019年。The recommendations come after a year-long investigation into the near-collapse of the UK banking system in 2008. They punctuate a remarkable turnround for a financial centre that once boasted of its “light touch” approach to regulation.
上述建議出籠之前，該委員會對2008年英國銀行系統接近崩潰的狀況進行了為期一年的調查。倫敦這個金融中心曾以其“點到為止式”的監管而著稱於世，但這項改革建議標誌著政府態度發生了令人矚目的大轉變。The Vickers report also said that banks must maintain additional loss-absorbing capital, such as so-called bail-in bonds or contingent convertible bonds known as “cocos” over and above their equity, equal to a further 7 to 10 per cent of assets adjusted for risk.
維克斯的報告還表示，除了股本，銀行還必須保留吸收虧損的額外資本，例如所謂的債權人紓困債券(bail-in bonds)，或“或有可轉換債券”(CoCos)，總額相當於經風險因素調整後資產的7%至10%。That rule puts the UK on a par with Switzerland, which also has an outsized banking sector. Both countries are seeking to avoid the problems of Iceland and Ireland, where financial industry woes devastated the broader economy.
這一規定讓英國與銀行業同樣超級龐大的瑞士看齊。兩國均試圖避免冰島和愛爾蘭的問題，以防像這兩個國家一樣，讓金融業災難摧毀了整個國民經濟。Sir John said the reforms would be “fundamental and far-reaching” and that they would have helped prevent the high-profile failure of banks such as Northern Rock, Lehman Brothers and Royal Bank of Scotland.
維克斯表示，改革的影響將是“根本而深遠的”，將有助於預防類似北岩銀行(Northern Rock)、雷曼兄弟(Lehman Brothers)和蘇格蘭皇家銀行(RBS)等銀行引發轟動的破產事件發生。譯者/何黎
India Snubs U.S., Russia in Jet Deal
India shortlisted France's Dassault Aviation and Eurofighter for one of the country's largest-ever defense deals, dealing a major setback to aerospace giants Boeing and Lockheed Martin.
《中英對照讀新聞》French mayor upset about statue’s breasts法國鎮長對雕像的胸部不滿
◎管淑平
The mayor of a town in France has thrown a Marianne statue out of his town hall because its breasts were too big.
法國一名鎮長把他市政廳裡陳列的一尊瑪麗安雕像丟掉，因為雕像的胸部太大。
The statue was an original work by a local artist, installed in 2007 at the town hall in Neuville-en-Ferrain.
這尊塑像是出自一名當地藝術家的原創作品，2007年設置在紐韋安—費蘭鎮市政廳。
"It was making people gossip," said one town hall employee. "Remarks were made, during weddings for example."
「它讓人們講閒話」，一名市政廳職員說：「例如在婚禮上就被拿來說。」
Mayor Gerard Cordon persuaded councillors to approve 900 euros in this year’s budget to buy a replacement, a more conventional bust of Marianne modelled on the statuesque French model Laetitia Casta.
鎮長傑哈德．科登說服議員在今年的預算中，批准一筆900歐元預算，採購一尊比較傳統的瑪麗安半身像來取代，新塑像是依照瑪麗安最佳形象代表人物法國模特兒蕾蒂夏．卡斯塔的身材打造。
Marianne is the traditional symbol of French Republic. The artist who made the rejected bust, Catherine Lamacque, said she gave it outsized breasts deliberately, "to symbolise the generosity of the Republic."
瑪麗安是法蘭西共和國的傳統象徵。塑造那尊被捨棄雕像的藝術家凱薩琳．拉馬克說，她是故意設計大胸部的，「以象徵法國的寬宏大度」。
"The mayor has had it under his nose for several years," she said, "his decision is absurd."
「這雕像放在鎮長眼前好幾年了」，她說：「他的決定很荒謬。」
Artists throughout history have depicted Marianne as curvy and voluptuous. The replacement statue’s breasts are large as well but they are not nearly as prominent as those of Lamacque’s Marianne.
歷史上的藝術家都將瑪麗安描繪成身材曲線玲瓏、豐滿。那尊替代塑像也有大胸部，只是不及拉馬克的那尊那麼突出。
新聞辭典
under one’s nose：片語，指就在視線所及很近的地方、近在眼前。例句：I’ve tried to find my notebook the whole day and didn’t notice that it’s right under my nose.（我找我的記事本一整天了，卻沒注意到它就近在眼前。）
voluptuous：形容詞，（女性）體態豐滿的；耽溺於奢侈、感官享 受的。例句：He just stood gazing at that voluptuous blonde and couldn’t look away from her.（他就盯著那豐滿的金髮尤物瞧，視線都離不開她。）
not nearly as：片語，遠不及…。例句：She’s good, but not nearly as talented as her sisters.（她是不錯，但是沒有她的姊妹們那麼有天賦。）
Contents
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History
The use of this emblem was initially unofficial and very diverse. A female allegory of Liberty and of the Republic makes an appearance in Eugène Delacroix's painting Liberty Leading the People, painted in July 1830 in honour of the Three Glorious Days (or July Revolution of 1830).
The First Republic
Although the image of Marianne did not garner significant attention until 1792, the origins of this “goddess of Liberty” date back to 1775, when Gustave Moreau painted her as a young woman dressed in Roman style clothing with the a Phyrgian cap atop a pike held in one hand [3] that years later would become a national symbol across France. Marianne made her first major appearance in the French spotlight on a medal in July 1789, celebrating the storming of the Bastille and other early events of the Revolution. From this time until September 1792, the image of Marianne was overshadowed by other female figures such as Mercury and Minerva.[3] It was not until September 1792 when the new Republic sought a new image to represent the State that her popularity began to expand. Marianne, the female allegory of Liberty was chosen to represent the new regime of the French Republic, while remaining to symbolize liberty at the same time.[4]The imagery of Marianne chosen as the seal of the First French Republic depicted her standing, young and determined.[5] It was symbolic of the First Republic itself, a newly created state that had much to prove. Marianne is clad in a classical gown.[4] In her right hand, she wields the pike of revolution with the Phrygian cap resting on it, which represents the liberation of France.[5] Marianne is shown leaning on a Fasces, a symbol of authority. Although she is standing and holding a pike, this depiction of Marianne is “not exactly aggressive”,[5] representing the ideology of the conservative Girondins in the National Convention as they tried to move away from the “frantic violence of the revolutionary days”.[3]
Although the initial figure of Marianne from 1792 stood in a relatively conservative pose, the revolutionaries were quick to abandon that figure when it no longer suited them. By 1793, the conservative figure of Marianne had been replaced by a more violent image; that of a woman, bare-breasted and fierce of visage, often leading men into battle.[5] The reason behind this shift stems from the shifting priorities of the Republic. Although the Marianne symbol was initially neutral in tone, the shift to radical action was in response to the beginning of the Terror, which called for militant revolutionary action against foreigners and counter-revolutionaries. As part of the tactics the administration employed, the more radical Marianne was intended to rouse the French people to action.[4] Even this change, however, was seen to be insufficiently radical by the republicans. After the arrest of the Girondin deputies in October 1793, the Convention sought to “recast the Republic in a more radical mold”,[6] eventually using the symbol of Hercules to represent the Republic. The increasingly radical images used to symbolize the Republic was in direct parallel to the beginning of the violence that came to be known as the Reign of Terror.
After the Reign of Terror, there was a need for another change in the imagery, to showcase the more civil and non-violent nature of the Directory. In the Official Vignette of the Executive Directory, 1798, Marianne made a striking return, still depicted wearing the Phrygian hat, but now surrounded by different symbols. In contrast to the Marianne of 1792, this Marianne “holds no pike or lance”, and leans “languorously” on the tablet of the Constitution of Year III.[7] Instead of looking straight at the audience, she casts her gaze towards the side, thus appearing less confrontational.[7] Similar imagery was used in the poster of the Republic’s new calendar.
The symbol of Marianne continued to evolve in response to the needs of the State long after the Directory was dissolved in 1799 following the coup spearheaded by Emmanuel-Joseph Sieyès and Napoleon Bonaparte. Whereas Mercury and Minerva and other symbolic figures diminished in prominence over the course of French history, Marianne endured because her abstraction and impersonality.[5] The “malleability” of what she symbolized [3] allowed French political figures to continually manipulate her image to their specific purposes at any given time.
The Second Republic
Marianne is isolated as Bismarck busily courts all the other European powers and keeps her isolated.
Two "Mariannes" were authorised: one is fighting and victorious, recalling the Greek goddess Athena. She has a bare breast, the Phrygian cap and a red corsage, and has the arm lifted in a gesture of rebellion. The other one is more conservative: she is rather quiet, wears Antiquity clothes, with sun rays around her head — a transfer of the royal symbol to the Republic — and is accompanied by many symbols (wheat, a plough and the fasces of the Roman lictors). These two, rival Mariannes represent two ideas of the Republic, a bourgeois representation and a democratic and social representation — the June Days Uprising hadn't yet occurred.
Town-halls voluntarily chose to have representations of Marianne, often turning her back to the church. Marianne made her first appearance on a French postage stamp in 1849.[2]
The Second Empire
The Third Republic
The usage began to be more official during the Third Republic (1870–1940). The Hôtel de Ville in Paris (city hall) displayed a statue of "Marianne" wearing a Phrygian cap in 1880, and was quickly followed by the other French cities. In Paris, where the Radicals had a strong presence, a contest was launched for the statue of Place de la République. It was won by the Morice brothers, in 1879, with an academical Marianne, with the arm lift towards the sky and a Phrygian cap, but with her breasts covered. Aimé-Jules Dalou lost the contest against Morice brothers, but the City of Paris decided to built his monument on the Place de la Nation, inaugurated for the centenary of the French Revolution, in 1889, with a plaster version colored in bronze. Dalou's Marianne had the lictor's fasces, the Phrygian cap, a bare breast, and was accompanied by a Blacksmith representing Work, and allegories of Freedom, Justice, Education and Peace : all what the Republic was supposed to bring to its citizens. The final bronze monument was inaugurated in 1899, in the turmoil of the Dreyfus Affair, with Waldeck-Rousseau, a Radical, in power. The ceremony was accompanied by a huge demonstration of workers, with red flags. The government's officials, wearing black redingotes, quit the ceremony. Marianne had been reappropriated by the workers, but as the representative of the Social and Democratic Republic (la République démocratique et sociale, or simply La Sociale).Few Mariannes were depicted in the First World War memorials, but some living models of Marianne appeared in 1936, during the Popular Front as they had during the Second Republic (then stigmatized by the right-wing press as "unashamed prostitutes"). During World War II, Marianne represented Liberty against the Nazi invaders, and the Republic against the Vichy regime (see Paul Collin's representation). During Vichy, 120 of the 427 monuments of Marianne were melted, while the Milice took out its statues in town-halls in 1943.[2]
Fifth Republic
Marianne's presence became less important after World War II, although General Charles de Gaulle made a large use of it, in particular on stamps, or for the referendums. The most recent subversive and revolutionary appearance of Marianne was during May '68. The liberal and conservative president Valéry Giscard d'Estaing replaced Marianne by La Poste on stamps, changed the rhythm of La Marseillaise and suppressed the commemoration of 8 May 1945.During the bicentenary of the Revolution, in 1989, Marianne hardly made any public appearance. The Socialist President François Mitterrand aimed to make the celebrations a consensual event, gathering all citizens, recalling more the Republic than the Revolution. The American opera singer Jessye Norman took Marianne's place, singing La Marseillaise as part of an elaborate pageant orchestrated by avant-garde designer Jean-Paul Goude. The Republic, after harsh internal fighting through-out the 19th century and even the 20th century (February 6, 1934 riots, Vichy, etc.), had become consensual, the vast majority of French citizens were now republicans, leading to a lesser importance of a cult to Marianne.[2]
Origin of the name
Some believe that the name came from the name of the Jesuit Juan de Mariana, the 16th century Monarchomach, a theoretician of tyrannicide. Others think it was the image of the wife of the politician Jean Reubell: according to an old 1797 story, Barras, one of the members of the Directoire, during an evening spent at Reubell's, asked his hostess for her name—"Marie-Anne," she replied—"Perfect," Barras exclaimed, "It is a short and simple name, which befits the Republic just as much as it does yourself, Madame."A recent discovery establishes that the first written mention of the name of Marianne to designate the Republic appeared in October 1792 in Puylaurens in the Tarn département near Toulouse. At that time people used to sing a song in the Provençal dialect of Occitan by the poet Guillaume Lavabre: "La garisou de Marianno" (French: "La guérison de Marianne"; "Marianne's recovery"). At the time Marie-Anne was a very popular first name; according to Agulhon, it "was chosen to designate a régime that also saw itself as popular."[1]
The account made of their exploits by the Revolutionaries often contained a reference to a certain Marianne (or Marie-Anne) wearing a Phrygian cap. This pretty girl of legend inspired the sans-culottes, and looked after those wounded in the many battles across the country.
The name of Marianne also appears to be connected with several republican secret societies. During the Second Empire, one of them, whose members has sworn to overthrow the régime, had taken her name.
Finally, at the time of the French Revolution, as the most common of people were fighting for their rights, it seemed fitting to name the Republic after the most common of French women's names.
Models
The official busts of Marianne, after having had anonymous features, being represented by women of the people, began taking on the features of famous women starting in 1969, with the actress Brigitte Bardot.[2] She was followed by Mireille Mathieu (1978), Catherine Deneuve (1985), Inès de la Fressange (1989), Laetitia Casta (2000) and Évelyne Thomas (2003).Laetitia Casta was named the symbolic representation of France's Republic in a vote, for the first time open to the country's more than 36,000 mayors, in October 1999. She won from a shortlist of 5 candidates, scoring 36% among the 15,000 voting mayors. The other candidates were Estelle Hallyday, Patricia Kaas, Daniela Lumbroso, Lætitia Milot and Nathalie Simon.[8] Shortly thereafter a mini-scandal shook France, after it was publicised that Casta — the new icon of the Republic — had relocated to London. Although she claimed that her move was motivated by practical professional reasons, the magazine Le Point, among others, suggested that she was trying to escape taxes.[9] In late 2003, Évelyne Thomas, a talk show host, was chosen as the new Marianne.
Although these figures are "official", there is no strict regulation governing the display of one over the other ones.
New government logo
The first objective targeted by this design is to unify government public relations. But it is also designed to "give a more accessible image to a state currently seen as abstract, remote and archaic, all the more essential in that French citizens express high expectations of the state"[citation needed].
This data was gathered from numerous interviews and consultations conducted by Sofrès (a French survey institute) in January 1999, with the general public and government workers. It emerged that the French are deeply committed to the fundamental values of the Republic, and they expect an impartial and efficient state to be the promoter and guarantor of the principles of liberty, equality and fraternity.
guarantor
- 音節
- guar • an • tor
- 発音
- gǽrəntɔ`ːr |
–
- guarantorの変化形
- guarantors (複数形)
[名]
1 《法律》保証人, 引受人（⇔guarantee）.
2 （安全・所有・平和などを）保証する人［団体, 制度］.outsize
(out'sīz')
n.
- An unusual size, especially a very large size.
- A garment of unusual size.
Unusually large, weighty, or extensive.
shortlistalso short-list (shôrt'lĭst')
n.
A list of preferable items or candidates that have been selected for final consideration, as in making an award or filling a position.
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