Letter of Opening Office of the State Council [No.33 [2021]

　

General offices of the people’s governments of all provinces, autonomous regions and municipalities directly under the Central Government, and general offices (rooms) of ministries and commissions and institutions directly under the State Council:

The fourth meeting of the National Leading Group for Openness of Government Affairs and the "General Office of the State Council on Printing and Distributing"The Notice on Key Points of Government Affairs Openness in 2021 (No.12 [2021] of Guo Ban Fa) requires that local governments and the State Council departments with the power to make rules should make the existing effective regulations of their local departments publicly available through the "Government Information Openness Column" of the government portal website before the end of 2021. In order to strengthen work norms and improve the quality and effectiveness of centralized and open regulations, we have consulted with the General Office of the Ministry of Justice and are hereby notified of relevant matters as follows.

First, when the rules are formulated or amended, in accordance with the provisions of the Regulations on Rules-making Procedures, the principal responsible person shall sign an order to publish it. When the rules are made public, only the title, caption and text are made public, and the order signed by the person in charge is not repeated. The caption shall include the announcement time and document number, revision time and document number, implementation time and other identifying information. For details, please refer to the Legal Information Network of China Municipal Government (website of the Ministry of Justice).The caption format of "Administrative Regulations Library".

Second, in order to improve the authority and standardization of centralized disclosure of rules and regulations, and facilitate the public to make better use of the rules and regulations obtained through the Internet, the General Office of the Ministry of Justice and the China Government Network Operation Center have designed the web page layout and download layout of rules and regulations, and at the same time, adjusted them accordingly.The page design of "Government Information Disclosure Column" is now issued together.

Three, to strengthen work coordination, coordination of legal institutions to carry out the work together, to clean up the rules and regulations, to lay a solid foundation for the centralized and open regulations. It is necessary to strengthen the management after disclosure and establish a dynamic updating mechanism so that the results of centralized disclosure of regulations can continue to play a role.

Four, the general office of the people’s governments of provinces (autonomous regions and municipalities directly under the central government) to guide the offices of the people’s governments of cities and autonomous prefectures in accordance with the requirements of this notice to do a good job of centralized disclosure of regulations, and in the portal of the people’s governments of provinces (autonomous regions and municipalities directly under the central government)"Government information disclosure column" focuses on the regulations of the people’s governments of provinces (autonomous regions and municipalities directly under the Central Government) and the regulations of the people’s governments of cities and autonomous prefectures divided into districts.

Five, the centralized disclosure of rules and regulations, is an important part of deepening the openness of government affairs and strengthening the management of government information, is to implement the "rule of law China construction plan".(2020-2025), the Implementation Outline for the Construction of a Government under the Rule of Law (2021-2025) and other central documents are one of the key tasks, which is related to optimizing the business environment and promoting the modernization of the national governance system and governance capacity. It is necessary to raise awareness, strengthen leadership, do a good job in the implementation of various tasks in strict accordance with the requirements, ensure the timely completion of tasks, and provide the society with the current effective regulatory texts with unified format, complete content and authoritative norms.

I hereby inform you.

The State Council general office government information Yu government affairs public office

October 25, 2021

　

　

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Rules and regulations of web page layout, download layout and column page design scheme

Download attachment:Rules and regulations of web page layout, download layout and column page design scheme

In Renaissance painters, a flowing long blond hair always made the characters shine with divine brilliance. Whether it’s Venus, the goddess of love rising from the sea in Sandro Botticelli’s works, or Flora, the goddess of flowers surrounded by flowers, there is a warmth of love between the gossamers. However, long blond hair is not the patent of the goddess, and there are also many men who are in the wind and fog. For example, in Diu Lei’s self-portrait in 1500, the thick and curly long dark golden hair almost falls symmetrically from the painter’s head, which makes people feel unreal.

Details of "Flower God" in Botticelli’s Spring (1482)

The deepest line about "hair" in German poetry in the 20th century is undoubtedly Death fugue (TodesfugeThe last two sentences in) are right. In this poem, words take the place of notes, accumulating strength continuously, and finally pouring down:

Margaret with your golden hair,

Your book girl with ashes-like hair.

Paul Celan didn’t use the "blond" which usually describes the blue-eyed blonde of German beauty, but chose the "golden" which makes "Margaret" more divine. This word is in sharp contrast with the word "aschen" that describes the Jewish beauty "Shulamier", which is obviously reminiscent of the crematorium in the context of Holocaust literature. So we read the initial shallow opposition between these two sentences: on the one hand, a fierce abuser, and on the other hand, a weak Jewish victim, separated by a precipice.

Albrecht Diu Lei’s Self-Portrait in a Fur Coat (1500)

However, the expression "Margaret with golden hair" still hides a more profound symbolic meaning, which requires tracing back to two famous female images in the history of German literature.

Lorelei with "golden hair"

The first image is Loreley, a witch in German folklore. Clemens Brentano, a romantic writer, wrote in his novel Godfrey (GodwiAfter telling this story in the form of narrative poem, the cliff stone with a height of 132 meters at the big bend in the middle reaches of the Rhine River was covered with a mysterious veil. Since then, this beautiful but cruel witch has also appeared in eichendorff’s narrative poem "Question and Answer in the Woods" (Waldgespr?ch), but what really makes this story a household name is Heinrich Heine’s lyric poem Lorelei in 1824 (Lorelei), especially coupled with romantic composer Friedrich Silcher’s melancholy and sentimental composition, makes Heine’s poetry almost equal to this legend (for the misunderstanding of Heine’s poetry caused by Schecher’s composition, please refer to the author’s musical interpretation of Lorelei. See The Art of German Music Poetry, East China Normal University Press, 2021). Like "Margaret with golden hair", Heine’s witches also have a heady "golden hair", and the third and fourth paragraphs of the poem write:

The most beautiful girl,

Sitting upright on high places,

The gold ornaments sparkled with youth,

She combed her golden hair.

The gold comb is light and the hair is trimmed.

And sing a song,

The tune of this ballad,

There are attractive secrets.

(translated by Jiang Linjing)

Although dressed in a simple coat, a careful reading reveals that Heine’s poem describing witches is very strange: he repeated the word "golden" three times in three consecutive lines, describing Lorelei’s jewelry, hair and comb respectively. What is displayed in front of the readers is a girl who is not particularly touching except for the golden light shining all over her body, which makes it difficult for people to love. So the boatman who yearned for Lorelei described in the fourth paragraph could only sigh:

A boatman in a canoe

Suddenly I was sad,

He didn’t look at the reef,

He only looks high.

(translated by Jiang Linjing)

However, this doomed tragedy is by no means the return of the romantic party to the medieval tradition of "elegant love". The sadness caused by unattainable love only floats on the surface of words, and romantic irony is surging in the muscles below. Is this witch shining with golden light really worth dying for? The witch sitting on the high cliff is like a mirror image of the banshee of Sai Ren in ancient Greece, who charms the boatmen coming and going with songs. Her long hair is the secret weapon of "femme fatale", which grinds the wounds of love to the core.

John William Waterhouse’s The Banshee of Sai Ren (1900)

In fact, girls with long hair often indicate the impending death in medieval paintings. In a painting entitled "Three Years of Life and Death" by Hans Baldung, a painter who is good at depicting "death and the maiden" (Die drei Lebensalter und der Tod) in the oil painting, both the baby and the old woman show fear in the face of death, and only the fair-skinned blonde girl is intoxicated with her beauty in the mirror, completely unaware of the death at hand. Holding high the torch of youth, who can pay attention to the hourglass of death? In the spectacular tapestry of Revelation (Tenture de l’Apocalypse), the Babylonian whore is also portrayed as a long-haired beauty who combs her hair with one hand and looks at herself in the mirror with the other.

Carl Joseph Beggs’s Lorelei (1835)

Attentive readers can indeed find faint clues alluding to Lorelei in Death Fugue. When the image of "Margaret" first appeared in the sixth line of the poem ("He wrote a letter to Margaret with golden hair in Germany"), Celan chose the same word as Heine used to describe the background of the legend of "Lorelei": "Esdunkelt"-a time to step into darkness and lead to tragedy.

In the second year of writing this poem, Heine was quietly baptized and became a Protestant, but the relationship between this Jewish poet and Protestantism was actually extremely ambiguous. The boatman who was attracted by the dazzling sound of Lorelei’s phantom and looked up to the heights was an allusion to the poet’s Jewish identity. The witch with "golden hair" represents "Germany" in the poet’s eyes in a sense-as high as a goddess sitting on a cliff stone, beyond reach. Although the poet did see his own shadow in the boatman who was infatuated with Lorelei, he finally let "I" jump out of the Rhine legend in the last paragraph and look at the doomed fate of this man who suffered from love trauma and racial discrimination with lament and self-mockery:

I guess the waves finally swallowed up.

The boatman and the boat;

Lorelena’s song,

Make it all happen.

(translated by Jiang Linjing)

As a Jewish poet who also wrote in German, Celan’s feelings for Germany are more complicated than Heine’s: Germany is obviously the "master of death" and the executioner who killed his parents, but German is also the poet’s cultural language and creative language. His poems are nourished by both Jewish and German water sources, just as he wrote in an untitled poem in his later years: "I drink from two cups". Heine saw his own shadow in the boatman who looked up at the blonde witch, and Celan used the double mirror image in "Margaret with golden hair" to reflect her love and hate for Germany.

"Margaret" with Long Hair and "Eternal Woman"

The second literary image is Margarete, the heroine in the first tragedy of Goethe’s Faust, also known as Gretchen. Faust, who became a charming teenager after making a pact with the devil, fell in love with Margaret, a girl who was like a white jade. The girl was tempted, gave birth to an illegitimate child with Faust despite the opposition of her family, and drowned the baby in despair. In the last scene of the first tragedy, Faust, with the help of the devil, went to prison to rescue Gan Qingqing, but he could not convince her. Gan Qingqing in prison thinks that she should be punished for her crime, but firmly believes that God will save her penitent soul.

Henrik Frans Safr’s Faust and Sweet Tears (1863)

There is a scene in the play that depicts Margaret combing her hair in the boudoir and discovering the jewels that Faust was lured by the devil and quietly left in the wardrobe, so she dressed up carefully and lamented that the exquisite jewels made the mirror more radiant. The image of a tearful girl who combs her hair in a mirror is reminiscent of the girl in death and the maiden. This scene has indeed become a turning point in the fate of Gan Qingqing, and the girl has since fallen into the abyss of perdition and moved closer to death step by step. Faust has aroused great concern in European literary circles, and Margaret (Gan Tears Qing) has also become the representative of "German women" in world literature, and many painters have described her as a typical German beauty with "blonde hair and blue eyes".

Schnoor Carrolsfield’s Faust and Gan Tears in Prison (1833)

Let’s turn our attention to the last scene of the whole poetic drama. In front of the mysterious finale chorus "das Ewig-Weibliche", three penitent women’s solos appeared, in which we can explore the strange deformation of Margaret’s image.

The first appearance is the "sinful woman" (Magna peccatrix). This "sinful woman" can be said to be the most famous repentant female image in Christianity: once a prostitute, she wept bitterly at Jesus’ feet and used her hair to dry Jesus’ feet wet with tears. Although her name is not specified in the Gospels, the Catholic tradition generally equates her with Maria Magdalena. In the history of art, painters like to describe her as a peerless beauty with long hair shawls, with a jade bottle filled with perfume beside her, and her eyes will never stop at the glitz of the world. Georges de la Tour, a French painter, asked her head to turn to the deep place, and the long-haired beauty who was immersed in meditation ignored the jewelry discarded on the table and put her hands together on the skeleton symbolizing "people will die". Tiziano Vecellio made her look up at the sky devoutly, and her long curly hair became the only cover for her naked body.

The last appearance in the mysterious chorus is "Maria Aegyptiaca". According to The Golden Legend (Legenda aurea) records, she worked as a prostitute in Alexandria for seventeen years. One day, she met some sailors who wanted to go to Jerusalem and begged them to take her with her. When she arrived in Jerusalem, she seemed to be blocked by an invisible force and could not cross the threshold of the temple. So she confessed and repented, vowed to renounce the world and finally entered the temple. After walking out of the temple, Mary of Egypt immediately took three loaves of bread into the desert for seclusion. For forty-seven years, her clothes were tattered and she covered herself with long hair. When she was hungry, she used bread that was as hard as stone, but never stopped. In traditional icon paintings and sculptures, long hair and three loaves of bread are the symbols of this "desert hermit".

Georges De La Tour’s Mary Magdalene in Candlelight (about 1625-1650)

At the end of Faust’s tragedy, Mary Magdalene, Mary of Egypt and "Mulier Samaritana" formed a strange "Mary Group", begging for Margaret and asking God to forgive her sins.

Like Margaret, the tragic heroine of Faust, the three penitent saints all committed the so-called adultery and were rejected by their neighbors. They were all lonely marginal people, but their hearts were open, and they did not stubbornly refuse the sacred love or avoid the suffering they deserved. Just like flowing long hair, it can be as gentle as velvet or as tough as sandalwood root. The long hair that falls freely can be an open temptation or a sheltered holiness. Daniel Arasse, a French art critic, also mentioned the contradiction behind the virgin’s excessively thick hair in "We See Nothing". If the beautiful long hair symbolizes the once dirty life, and the painter wants to show their holiness after repentance, why not just let them abandon their long hair and show their true abstinence? Why highlight their hair so exaggeratedly? Because long hair contains the temptation and danger of sensuality, but it also contains the strength of softness and weakness. It is a transition, a transition from a once pure white girl to a polluted Margaret, and a transition from a tragic Margaret in the first part to a bright virgin Margaret in the second part. Margaret, who rejected the earthly "salvation" and chose eternal "redemption" in the first tragedy, finally joined this "Mary group" and begged for Faust’s soul. Make Faust’s soul follow the "eternal woman" to a higher level.

These "eternal women" are different from the men who "clench their fists" represented by Faust (in German, "Faust" means "fist") and never stop trying to climb. Their strength comes from love. In the second part of the tragedy, Faust’s own behavior is becoming more and more noble and pure. However, Goethe believes that it is not enough to have his own efforts, and he has to rely on "help" to obtain the highest happiness, and that help is "eternal love". These three penitent saints, like Gan Tears Qing, all symbolize the process from "broken" to "perfect". They are "perfect" because they accept their own "broken". It is these seemingly negative and weak eternal women who finally guide Prometheus-style strong men to rise.

Anseur Keefer’s Margaret with Your Golden Hair (1980)

Let’s go back to the end of Death Fugue. "Margaret with your golden hair" and "the girl with your ashes-like hair" are obviously the peaks of many parody fugues in this century’s poem (for the interpretation of "musicality" in Death Fugue, please refer to my humble article, see The Art of German Musical Poetry, East China Normal University Press, 2021). The opposition of "German-Jewish women" in Celan’s poems is not completely hostile in essence. Lorelei, the witch, the sweet tears in Faust, and the "eternal woman", these traditional images originated from German folk, German classic literature and Christianity are gathered together by Celan in an unconventional way, which constitutes a unique metaphorical cluster of "Margaret with golden hair". When we finally put this deep cluster together with the "ash-like hair girl of Shulami", we will find that this opposition is extremely sad, but there is no hatred. Brutal killing and romantic melancholy, dangerous temptation and eternal love overlap in "Margaret with golden hair" She embodies the ultimate contradiction of Germany, just as Friedrich Nietzsche called Richard Wagner’s Tristan and isolde (Tristan und Isolde) shows "the same horror and sweetness", just like the title of the poem "Death fugue": Germany produced a cruel massacre and also gave birth to accurate fugue counterpoint.

Beauty is pain, lust is torture, and compassion comes from trauma. Poetry touched Celan’s wound, but it was difficult to heal him. His poems stagnated between the inextricable connection between Germany and Judaism and the irreconcilable pain, and his body finally sank to the bottom of the icy Seine River. But who knows, when he falls in the water, when the moment of his final sleep comes, when the lines of his flesh are full of fear of death, whether his heart has been filled with eternal love, whether his soul has been as white and frank as Faust, and has been led by those "eternal women" who have appeared in his life and poems, and has risen to the starry sky?

This article first appeared in Book City (June, 2022), and was published by The Paper under the authorization of Book City.

　　　 Special feature of 1905 film network Since last year’s film and September this year’s film, another "Youth Movie" has appeared on the big screen in China on October 28th. From the box office point of view, the film’s performance is not bad. Since its release in North America on September 19, it has received $11.25 million from 3,604 cinemas and easily won the one-day championship. And its premiere weekend accounted for 32.5 million US dollars, and easily won the weekend championship; By the end of September, the global cumulative box office has reached 149 million US dollars, and it has topped the box office charts in more than ten countries/regions.

　　　 However, although the film is excellent in production and the lineup of Cass is also Starlight Glimmer, it is not difficult to see that many viewers have many doubts about the content of the film from the comments since its release. Many viewers who haven’t read the original novel have repeatedly complained that many plots of the film are inexplicable and some characters are far-fetched and rough. Let’s combine the comments of fans to sort out several controversial points in this film:

The original volume is huge: the adaptation is hard to hide, far-fetched and rough

　　　 The Maze Runner is adapted from the first book of the trilogy of dystopian science fiction with the same name written by James Dashner, and the last two parts are called The Scorch Trials and The Death Cure respectively. The plot and characters of the trilogy are consistent from beginning to end, and each trilogy has its own system. Once published, the novel won several American youth literature awards and sold well in the world. According to the fans who have read the original, The Moving Maze, which has been adapted into a movie, is basically loyal to the original, and the film’s box office quickly put the sequel on the agenda.

　　　 Then the question is coming. Since we are going to shoot a trilogy, it is particularly important to explain the world view of the whole story in the first part. However, the film’s ambition to fit all the characters in the original book into the film makes some important people too rough and abrupt. For example, Albini, the leader of forest land, died in a hurry after being injured twice; The villain Gally stiffly attempted to seize power and stiffly appeared at the exit of the maze; Chuck, a young boy, is a cheap sensational tool … … The result of trying to keep the whole picture of the original characters is a serious sense of plot rupture, and the above-mentioned people have already got the lunch in the first film. Obviously, the possibility of flashback in the sequel is not great, so I have to say that this adaptation is too sloppy and far-fetched.

The heroine of "chicken ribs": there is no bright spot in a vain shot.

　　　 After shailene woodley, the heroine, was accused of being a fake "big cousin" Jennifer Lawrence, kaya scodelario, the heroine of "Moving Labyrinth", was referred to as the "replica version" of Kristen Stewart. Strangely, this gloomy woman, who had played many roles in the controversial popular English drama Skin, was in such an awkward position in the Moving Maze — — When Teresa, played by Ka Ya, was sent up by the elevator, the note in his hand was written in black and white "She’ S the last one ever "(she was the last one), which made people think that it would be a role that played an important role in promoting the plot. As a result, she didn’t have anything to do until the end of the film, which could not help but make the audience cry.

　　　 Another big point about Teresa is that most of the woodland residents in the film are young men between the ages of eleven and seventeen (they are hot-blooded and peak-like). Many people haven’t seen girls for two or three years, but they are so calm in the face of this beautiful young Teresa. The serious unreasonable plot makes people wonder if the director wants to hide the "spark of love" in the sequel.

Alien monster "Grievers": more horrible and ferocious than the original.

　　　 The maze monster "Grievers" in the film (translated as Ghost Fire Beast and Confessor) is still a bright spot from the enthusiastic response of the audience after it was released in North America, although its appearance time is not much. This monster with a special-shaped face, a scorpion tail and slobbering everywhere consumes a lot of brain cells of the special effects team Method Studios. Sue Rowe, director of special effects, said that it took a lot of trouble to make "Grievers" not only reasonable in biological structure, but also conform to the laws of physical movement — — At first, the team specially made the skeleton system, then filled the muscles and added mechanical limbs, and finally made the characters more authentic through dynamic simulation.

　　　 However, although the horror index of "Grievers" in the film is not low, it has still been vomited by some "original parties" — — The "Grievers" in the original work is similar to a slug, and it moves in a rolling way. It can even be said that there is a little bit of "stupidity" in addition to ferocity and nausea. In the movie, the mechanical legs of "Grievers" with metal texture make it look more like a large agile spider.

Maze walker’s "white lie": Asian actors no longer play soy sauce

　　　 The literal translation of the film title "The Maze Runner" should be "Labyrinthine Walker". This seemingly puzzling setting is the core of the film "Moving Maze". The "maze walker" in the film is composed of a large group of woodland members. Their duty is to enter the maze every day to explore the terrain and draw their findings into a map. The "Walker" base in the original work is full of hand-drawn maps accumulated day by day. In the movie, it is treated as a huge maze model. Migneau, the eldest brother of the "walkers", has already memorized every Minho of land and every change cycle of the maze. He enters the maze on time every day and pretends to explore the terrain just to keep everyone hopeful of escaping from the maze.

　　　 It is worth mentioning that in this standard American blockbuster, Asian actors are finally no longer just walk-on roles. Migneau is played by Asian actor Ki Hong Lee. "What? Ki Hong Lee? I only know Li Hongji "… … Ok, forgive you — — Compared with the famous Li Hongji, Ki Hong Lee, also from South Korea, is really unknown. Ki Hong Lee has played some unforgettable small roles in many American TV series (2009, 2010, 2011 and The Witch’s Nine Lives), and these series have little influence. Although the role of Migneau was played in many scenes, it was unfortunate that Li Hongji’s performance was accused by some fans of being too immature.

Conclusion:

　　　 It is said that the sequel will be filmed at the end of October this year and will be released on September 18, 2015. As far as the concept map exposed at present is concerned, the handwriting of the sequel will not be small, and even aidan gillen, who plays "Little Finger" in the sequel, will join in with all his strength. However, according to the reaction of the original readers, the trend of the second character is even more complicated and has a stronger sense of "overhead", which is common in juvenile literature. How to balance the fluency of film works and the integrity of literary works will obviously be the primary problem that the sequel director will face.

　　Beijing, July 23 (Yu Wang) On the 22nd, Beijing time, FINA issued a statement, and decided to warn the Australian Swimming Association and mark houghton for Australian Horton’s refusal to take a photo with Sun Yang at the award ceremony.

　　FINA said that it respects the freedom of speech of athletes, but at the same time, it believes that everyone’s freedom of speech needs to be expressed in the right way.

　　FINA issued a statement and decided to warn the Australian Swimming Association and mark houghton. Image source: FINA official website

　　Can’t afford to lose? Sun Yang won the championship and Horton refused to take a photo.

　　In the men’s 400-meter freestyle final of the World Championships, Sun Yang won the championship in 3 minutes, 42.44 seconds, achieving four consecutive championships in the World Championships. This is Sun Yang’s tenth gold medal in the World Championships, and it is also the most powerful proof that "everything in the competitive arena depends on the results".

　　However, at the award ceremony after the game, Australian Horton, who won the silver medal, once again made much ado about nothing and refused to take a photo with Sun Yang on the podium, which also caused boos from the audience. And Sun Yang also ignored, just laugh it off.

　　For Horton’s rude behavior, Sun Yang responded at the press conference that night: "The award is very sacred. You have thousands of unwillingness, but when you stand on the podium, you can disrespect me, but you must respect China."

　　This series of "storms" did not disturb Sun Yang, who entered the competition state. In the men’s 200m freestyle semi-final held on the evening of 22nd, he advanced to the final with a time of 1 minute 45.31 seconds. Tonight, Populus alba will attack the second gold medal in this World Championships.

　　Helpless! Horton made trouble at the Rio Olympics.

　　In fact, Horton’s unprovoked attack on Sun Yang can even be traced back to the Rio Olympic Games three years ago. At that time, before the men’s 400-meter freestyle final, Sun Yang took the initiative to greet him, but he was coldly greeted by his opponent.

　　What is even more jaw-dropping is that Horton beat Sun Yang to win the gold medal in the subsequent competition. However, after winning the gold medal, he openly attacked Sun Yang and called him a "doping player". Horton’s unprovoked slander immediately caused an uproar.

　　In the men’s 400-meter freestyle swimming in Rio Olympic Games, Sun Yang regretted winning the silver and Horton won the gold medal. Zhongxin.com reporter Futian photo

　　In response to Horton’s behavior, a spokesman for the International Olympic Committee once responded: "The audience wants to see fair, just and open sports events. We hope that athletes will adhere to the Olympic spirit and ask each athlete to respect each other."

　　As a party, Sun Yang immediately replied: "We are not friends". The Chinese Swimming Association also formally notified the Australian Swimming Association and asked Horton to publicly apologize for what he had done.

　　Comfortable! FINA issued a statement warning Horton

　　But this time, FINA’s attitude is even tougher. In their statement, they said: "FINA officials analyzed the situation of the men’s 400-meter freestyle award ceremony and decided to send a warning letter to Australian Swimming Co., Ltd. and its athlete Horton."

　　"FINA respects freedom of speech, but it must be done in an appropriate context. Like all major sports organizations, our athletes and their entourage should understand that they have the responsibility to respect FINA regulations and not to use FINA events to make personal statements or gestures. "

　　Horton refused to take a photo with Sun Yang at the award ceremony. China News Service reporter Han Haidan photo

　　According to the usual practice, only FINA and the World Anti-Doping Agency are responsible for the investigation of doping in swimmers. When FINA decided that there was no violation in Sun Yang and court of arbitration for sports had not held a hearing on doping control in Sun Yang, Horton’s accusation was obviously groundless.

　　Recently, Sun Yang also issued a certificate through his lawyer, demanding that the hearing be made public to prove his innocence. FINA expressed a clear attitude: "Horton’s protest is currently under trial in court of arbitration for sports, and FINA will not comment on it before the hearing."

　　Condemn! Former executive of Australian anti-doping agency: Horton should be severely punished

　　Many people in the industry also criticized Horton’s loss after the game. Richard Inges, the former CEO of the Australian Sports Anti-Doping Administration, is one of them. He said on his personal social media that Horton should be severely punished for this.

　　Richard Inges, former CEO of the Australian Sports Anti-Doping Administration, said Horton should be severely punished.

　　"I’m not a fan of Sun Yang, but a series of things have been clarified before. Therefore, Horton’s failure to stand on the podium should be severely punished. " He wrote.

　　According to the internationally renowned swimming website "Swim Swam", Horton also "suggested" Italian player Deti who won the third place to stand on the podium before the award ceremony, but the Italian said, "I have paid too much for this bronze medal, and I want to stand on the podium."

　　Not only that, Horton also attracted resistance from foreign netizens on social media. Some netizens said: "Sun Yang’s participation in the competition has proved that he is innocent. I don’t understand that Horton wants to make a big fuss about this." "Why can’t Horton face the reality: he just can’t win Sun Yang?"

　　Interesting! Horton participated in the World Championships by "going through the back door"?

　　Interestingly, Horton, who openly accused others of "counterfeiting" in public, was able to come to Gwangju, and the reasons behind it were also somewhat speechless. According to Australian media reports, Horton did not qualify for the previous World Championships in Australia.

　　After the men’s 400-meter race, the British Daily Mail also wrote that Horton’s move was "very rude" and revealed that he relied on "privilege" to participate in this World Championships. The reason is that Horton’s head coach has discretion.

　　Horton refused to take a photo with Sun Yang at the award ceremony. China News Service reporter Han Haidan photo

　　In the end, Horton also repaid the trust of the Australian Swimming Association with a silver medal, but what he did after the game puzzled the coach: "No one knew he would do this, it was his idea."

　　In sharp contrast, at the women’s 100m butterfly award ceremony on the evening of 22nd, Canadian player McNeil, Swedish star Sjostrom and Australian player mckeown put their palms to the camera, and their hands were written with the words "Chijiang Glazed Flower" and "Never Give Up" to cheer for Chijiang Glazed Flower suffering from leukemia, which also moved everyone.

　　The stadium is a stage for athletes to pursue "higher, faster and stronger", which is pure and full of warmth and emotion. Whether you are skeptical or resentful, please let sports return to their original heart when the starting gun goes off. (End)

　 　 Special feature of 1905 film network　A father is the first man a daughter meets in her life, and every daughter has a definition of a father in her heart.

　 　 In the movie Diary of the Sea Street, 15-year-old Ling (Suzu Hirose) meets her half-sisters Xing, Jia Nai and Qian Jia, who have never met before, at her father’s funeral, and accepts their sisters’ invitation to live in Xiangtian’s old house in Kamakura.

　 　 The film follows the name of the original comic book diary of the Sea Street, instead of Story of the Sea Street, and connects the theme of "getting my father back" with trivial stories. The comic aesthetic style shows that director Hirokazu Koreeda doesn’t intend to make a profound analysis of society this time, but only wants to discuss the eternal topic of "father" in this film "Father is not present".

Poster of Hai Jie Diary

　 　 The death of my father is the beginning of this story. Fifteen years ago, my father left the three sisters because he fell in love with another woman (Ling’s mother) and lost contact with them. The cherry blossoms in Binhai Road bloom and fade, the plums in front of the old house are green and yellow, relatives and friends come and go, and the father never appears. In the process of the growth of the three sisters, the father’s "lack of companionship" is an important reason for the daughters’ "incomplete emotional life", which has become the "introduction" of this film.

Dajiexing (Ayase Haruka)

　 　 I have witnessed the quarrel between my parents and my mother’s sadness. After my mother left home, it was my eldest sister Xing (Ayase Haruka) who took care of the family. Fortunately, she was tough in appearance and extremely fragile in heart. She assumed the responsibility of parents prematurely and longed for a man to rely on. She fell in love with a married man, probably because the other person is a mature man, but as a de facto third party, traditionally, she had to bear the blame of her conscience and hid all her desires very appropriately, only when her younger sister Ling arrived, she inadvertently revealed them.

Er Jie Jia Nai (Masami Nagasawa)

　 　 The second sister, Jia Nai (Masami Nagasawa), is simple in nature. In her memory, she often hears her parents quarreling at night and sees her sister comforting her mother. Her dissatisfaction with her father is more influenced by her sister’s luck. It is her childhood memory that makes her want to be free and happy when she grows up, be cheated by her little boyfriend again and again, and drink and go crazy again and again. Her sister’s luck may comfort her but she can’t tell her to avoid repeating the wrong plan.

Sanjie Qianjia (Kaho)

　 　 Among the four sisters, Qianjia (Kaho), the third sister, is the daughter who has the most vague impression of her father. Because of her vagueness, her feelings for her father are just like that of a daughter’s family who worships her father. Because of her worship, she wants to know more about her father, so when Ling holds the childhood photos of the three sisters treasured by her father, she is the most curious chatterbox. She likes to practice fishing alone at home. When she learned that her father also likes fishing, her excitement was beyond words. "It turns out that my father and I are very similar in this respect." Her boyfriend, like a joke, is a store manager with a grotesque appearance. She was attracted to the store manager because this sports man with six toes missing is passionate about conquering Mount Everest and loves sports as much as his father and is full of adventure.

　 　 Although the film did not deliberately explain the age and gap of the three sisters, from the scale of the wooden pillars in the promenade, we can guess that the age gap between them is not great. However, because of my father’s absence, my eldest sister came to middle age early, my second sister played a rebellious youth, and my third sister stayed in her childhood, just like plum wine brewed in different years, with different shades and tastes. The pillars at home are engraved with the height marks of the daughters’ growth. We can guess that it was their father who carved the mark on the wooden pillar, and the last mark stayed at the age of fifteen.

　 　 The death of my father is also an emotional turning point. Lost fifteen emotions, sealed fifteen years of memories, slowly opened with the arrival of half-sister Ling. The sisters invited Ling to live with them, worried about their younger sister’s future life and hypocritical stepmother, and loved her sister’s kind-hearted and tough personality. Moreover, among the four sisters, only Ling had a complete memory of her father, who often made sardine toast for her and took her fishing together, and never missed the key to her growth. At the last moment of her father’s life, Ling accompanied her father through the last life, and Ling’s body was marked by her father. When they accepted Ling, they actually accepted their father in another way. Because of the arrival of Ling, the family began to appear complete. The elder sister was no longer strict, the second sister had more responsibility and the third sister shared more. In their minds, the vague impression of their father began to become concrete. From Ling’s perspective, what unfolds slowly is the scene where my father and daughters lived together many years ago. The accumulated life in the town is strung together, and the diary is not a story. The plum trees planted by my grandmother in the old house, courtyard and faint pickles flow peacefully in the four seasons of Kamakura. Sardines toast is the memory of Ling and her father’s life together. In the dining hall of the sea cat, Ling found that this food was actually the creativity of the sea cat. A piece of food carries the memories of a full family, and the family is the people who eat many meals together.

　 　　

　 　 Under the promenade, Ling He, who was drinking plum wine, made a funny laugh. Ling, who came to the old house, was the father who returned to his daughters in another way to accompany her to find the lost innocence in her life. "You can always be here, forever … …” This sentence appeared twice in the film. The first time was when Ling just arrived in Kamakura. Fortunately, she expressed her acceptance and welcome.

　 　 The second time was at the end of the film. Ling, who always felt guilty and thought that she had stolen the happiness of her sisters for fifteen years, opened her heart to her at the top of the mountain. Fortunately, she sincerely said, "You can always be here, forever … …” This sentence is not only for Ling, but also for her father’s confession, for her inner reconciliation with her father, and for her inner love for her father.

　 　 Ling told her sisters that her father said at the last moment of her life, "It would be a wonderful thing if she still has the ability to feel beautiful when she leaves this world!" . At the end of the film, standing by the sea, Yuki and Qianjia and Jianai talk about their father. "He may be a failure, but he must be a very gentle person."

　 　 Father never appeared in the film, but he was everywhere. The train passing through the city meets the cherry blossom avenue in the sea at the corner, and four girls wearing kimonos and playing with fireworks. The film seems a little scattered. What is scattered but not chaotic is the feelings of the four sisters for their father, with a touch of warmth in their sadness. Although their feelings for their father are complicated, their love for their father makes them live and move forward bravely.

　 　 The film begins with his father’s funeral, and ends with the funeral of the boss’s second house in the Haimao canteen. In this film, the director fully shows his seriousness to death and kindness to life, understands his father’s abandonment of his wife and children with the greatest tolerance, and does not accuse him too much of throwing his children to his grandmother’s mother, falling in love with his married sister, trying his best to occupy the second house in the Haimao canteen, and even Ling’s mother as a "third party" because Ling.

　 　 The director confessed with the film: "No one’s soul has fragrance, no one is wrong", life is beautiful, sometimes life is not so beautiful, even so, life is still beautiful.

　 　 Life is like a cherry blossom, a bunch of fireworks, short and beautiful. Life needs such loosening.

Depp joined Hollow Man.

　 　 1905 movie network news Universal Picture’s "Monster Universe" plan is moving forward in an orderly way. A few days ago, the remake of Hollow Man attracted a famous actor to join us. It is reported that Johnny Depp will definitely join the film and play the role of invisible man in the film. In the original film, the invisible man became a killer after being invisible, and there were killers in Depp’s previous screen roles, so this role is more suitable for Depp to interpret.

　 　 The original Hollow Man, filmed in 1933, tells the story of a talented scientist who invented an invisibility reagent that can make people invisible after drinking. Although the effect of the reagent is obvious, unfortunately, the side effects make the scientist become eccentric, and gradually, he becomes an invisible killer. The film depicts the alienation of science and technology to human beings. Although it is exaggerated, the scenes of a large number of invisible people killing people in the film are still chilling. The film has been put on the screen five times. The famous David .S. Goyer once filmed a version in 2007.

The 1933 edition of Invisible Man

　 　 As early as last year, Universal decided to build a "monster universe", hoping to copy the successful experience and bring the famous monsters in the film history such as Dracula, Frankenstein, Frankenstein’s bride, werewolf, invisible man, mummy, and Black Lake Fishman to the big screen. Judging from the progress of the current exposure, the list signed by Universal is big: Tom Cruise just confirmed to join us not long ago, and now Hollow Man has invited Depp to join us. Just from the stunt, this "monster universe" can be described as huge.

　 　 Universal Picture’s Hollow Man will be written by ed solomon, a screenwriter, and the director candidate and release time have not been decided.

It’ s too embarrassing … Although I knew in advance that BYD was going to engage in intelligent driving of the whole car, I really didn’ t expect that it was close to the standard of the whole department. (PS: products under 100,000, this is the second time to start carrying)

Eye of the God 100-Blue Tail Mark-High Speed Pilot

Eye of God 300-Red Tail-City without Map

See for yourself the specific car payment. Careful students have already seen it. Not this time, it should not be, and it is not a succession relationship with up. Students with insider can comment on it, and then I will ask BYD’s classmates and give you an answer.

The growth rate of China market is higher than that of the whole world.

From 2010 to 2020, the market size of China’s pet industry increased from 13.44 billion yuan to 72.73 billion yuan, with a compound annual growth rate of nearly 20%, which is higher than that of the whole world. In 2020, the US pet consumption market accounts for 41.1% of the world, ranking first, and China accounts for 8.1%. The pet raising rate and the annual consumption of a single pet in China are far below the level of developed countries, and there is much room for growth in the future.

Judging from the proportion of pet expenditure in household consumption, in 2014, the difference in the proportion of pet expenditure in household consumption between China and the United States was 3.1 times, and in 2019, the difference dropped to 1.8 times.

1. The average annual compound growth rate of China’s pet industry is nearly 20%, accounting for less than 10% of the global market.

With the development and prosperity of China society, the role of pets is gradually changing — — Cats and dogs are increasingly regarded as indispensable members of the family, rather than simply companion pets. Social media has also promoted pets to become an important part of young people’s lives, and the trend of "raising cats in the cloud" has made owning pets more desirable. Therefore, the pet market has grown rapidly in the past 10 years. In 2020, the pet consumption market in China will be 72.73 billion yuan, up 21.1% year-on-year, and the CAGR will be 18.4% in 10 years.

With the development of economy, the consumption of pets is also increasing. Families in most developed countries regard pets as family members, and the spending on pets is increasing. According to Euromonitor data, in 2020, the global pet market industry scale will be about US$ 138.2 billion, up by 4.4% year-on-year, and the CAGR will be 3.6% in 10 years. Among them, the pet consumption market in China, Japan and the United States accounted for 8.1%, 4.2% and 41.1% of the global market respectively.

2. There is a big gap between China’s pet raising rate and single pet consumption amount and developed countries, and there is huge room for improvement.

In the past decade, the changing population and social structure, as well as the improvement of income and adoption rate, have become the main factors to promote the growth of pet keeping rate in China. Compared with other parts of the world, in 2019, the family pet raising rate in China was only about 17%, far lower than 67% in the United States, 62% in Australia and 44% in the United Kingdom. The pet raising rate in China is far lower than that in developed countries, and there may be several times room for improvement in the future.

Since 2016, the growth rate of China’s single pet consumption has increased year by year, mainly driven by the increase of per capita disposable income and the enhancement of pets’ kinship attributes; In 2020, the annual consumption of a single pet in China will be $59. Compared with other countries, in 2020, the consumption of single pet in Japan and the United States will be $317 and $343, respectively, and the consumption of single pet in China is still lower than that in developed countries.

3. The proportion of pet expenditure in household consumption in China has increased, and the gap with the United States has narrowed.

From 2014 to 2019, the proportion of pet expenditure in household consumption in China increased from 0.16% to 0.29%, and the proportion of pet expenditure in household consumption in the United States in 2019 was 0.52%. In 2014, the difference in the proportion of pet expenditure in household consumption between China and the United States was 3.1 times. In 2019, the difference dropped to 1.8 times.

It can be seen that there is an obvious trend of consumption upgrading in the pet market in China, which accelerates the expansion of the pet market. With the stronger willingness of consumers in China to invest in pets in the future, the pet industry has great development potential.

For more data and analysis, please refer to Forward-looking Industry Research Institute, and at the same time Forward-looking Industry Research Institute provides solutions such as industry, industry declaration, industry investment attraction, IPO fundraising feasibility study and prospectus writing.

[car home Taiyuan Promotion Channel] Good news! In order to give back to consumers, an unprecedented preferential activity is being carried out in Taiyuan market. At present, this high-profile electric vehicle is enjoying a cash discount of up to 115,000 yuan, and the minimum starting price has dropped to 324,900 yuan. This is a good opportunity to buy a car. If you want to know more about the preferential situation of specific models and the price of picking up the car, please click "Check the price of the car" in the quotation form to ensure that you can get the latest market preferential information and grasp the best time to buy a car.

The exterior design of BMW i4 fully embodies BMW’s innovative spirit and elegant aesthetics. The front face adopts the classic kidney grille design, but it incorporates the modern elements of the electrification era, making this iconic element more scientific and technological. The air intake grille adopts a closed design, which not only meets the aerodynamic requirements of electric vehicles, but also shows its electric identity. The overall style is smooth and futuristic, and the body lines are tough and dynamic, showing BMW’s unique insights in the field of luxury electric cars.

With its streamlined body design, BMW i4 outlines an elegant and dynamic profile. The body size is 4785 mm long, 1852 mm wide and 1455 mm high, showing the balance of strength and exquisiteness. The wheelbase is as long as 2856 mm, which gives the vehicle spacious interior space and excellent driving stability. The front tread is 1601 mm and the rear tread is 1630 mm, which ensures good handling performance. On the tyre size, BMW i4 is equipped with 245/45 R18 front wheels and 255/45 R18 rear wheels. With exquisite rim design, it not only enhances the visual effect, but also provides excellent grip and comfort for driving.

The interior design of BMW i4 is elegant and full of technology, which combines luxury and futuristic feeling. The exquisite leather steering wheel provides a comfortable grip and supports manual adjustment up and down and back and forth, which is convenient for drivers to adjust according to their needs. The center console adopts a 14.9-inch large touch screen, which integrates the functions of multimedia system, navigation and telephone, making it easy to operate and the information displayed clearly. The seat in the car is made of imitation leather, genuine leather and leather /Alcantara mixed material, which provides good riding comfort, supports front and rear adjustment, backrest adjustment and electric seat memory function, and the driver can set it individually. The front and rear rows are equipped with two USB/Type-C interfaces, including the wireless charging function of mobile phones, to meet the needs of passengers for various electronic devices. The overall interior pays attention to practicality and luxury, creating an intelligent and comfortable driving space for passengers.

The BMW i4 model is equipped with a powerful engine, with a maximum power of 210kW, providing a surging power output. At the same time, the engine also has a peak torque of 400 Nm, which ensures the excellent performance and response speed of the vehicle during acceleration and driving. This engine is BMW’s careful design for electric driving experience, aiming to meet the dual needs of users for power and efficiency.

In a word, according to the feedback from car home car owners, BMW i4 is impressive for its excellent sound insulation effect, surging power output and unique volcanic red interior design. He even compared it with the exquisiteness of Mercedes-Benz. As a luxury electric vehicle integrating performance and aesthetics, BMW i4 has undoubtedly won high praise in the market.

From the appearance, the overall design of the 2025 EV5 family is fashionable, with a closed grille and a penetrating light strip, which has obvious new energy recognition; Viewed from the side, the body lines are round and thick, giving people a strong sense of security. At the same time, the hidden electric door handle and the electric folding configuration of the exterior rearview mirror further enhance the sense of science and technology.

Diversified power, more intelligent driving.

Facing the wave of new energy and intelligence in China, Kia, as a joint venture brand, has also learned to integrate and fully consider the diversified and personalized car needs of young people, so as to enrich the experience of consumers.