導(dǎo)讀：布萊恩特公園（布萊恩特公園百度百科） 大家?guī)兔Ψg一下這個網(wǎng)站的一篇報道（服裝時尚類的） 英語詞匯麻將解析：麻將中英文術(shù)語 一座位于紐約曼哈頓最中心地帶的公寓，其奢華讓人嘆為觀止！

大家?guī)兔Ψg一下這個網(wǎng)站的一篇報道（服裝時尚類的）

GEOGRAPHY has always been a convenient form of branding in Manhattan, where Madison Avenue, Broadway and Wall Street are shorthand for career tracks as much as they are addresses.

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As the home of New York Fashion Week, Bryant Park is, to much of the world, synonymous with fashion. That is a fitting distinction since its wide-open lawn is also commonly referred to on Seventh Avenue, where famous designers like Donna Karan, Oscar de la Renta and Carolina Herrera have their offices, as the backyard of the garment district. So when the New York catwalks were centralized under a big tent there in 1993, it made a poignant narrative to show the clothes just a couple of blocks from where they were being created.

Sure, there were plenty of people then, as there are now, who thought it was perfectly appalling that a bunch of fashion designers should be allowed to take over just about the only patch of open green space in Midtown for their invitation-only affair. It may not have been obvious why fashion mattered to the thousands of tourists and commuters who walked by each day, irritated by the traffic, excited by the celebrities, bemused by the outfits.

But now, after a prolonged dispute between the designers and the park management, the Fashion Week that begins in Bryant Park today will be the last, before the event moves to Lincoln Center in the fall.

Its entrance, on Avenue of the Americas at 41st Street, is printed with dozens of quotations from designers, editors and publicists, all expressing the belief that showing collectively in Bryant Park is what made New York City a global fashion capital. One from Anna Wintour, the editor of Vogue, hangs over the front door: “Bryant Park became the beacon of what New York fashion stands for — an industry that’s fearless, tireless and always moving forward.”

And yet few have missed the symboli *** that this move away from Bryant Park is happening at a moment when the garment district, from 34th to 40th Streets between Broadway and Ninth Avenue, is in a profound state of decline.

Manufacturers who made their homes there selling buttons, trims, fabrics and threads, making samples, producing dresses and suits in factories along the side streets, have been disappearing at an alarming rate over the last decade. Most of the production of clothes moved to cheaper factories overseas long ago. The recession, and pressure from landlords who want to convert factory buildings into luxury apartments, hotels and office space, has caused more of them to flee the district.

And now go the tents, the most visible image of the work that still goes on in the neighborhood.

“It’s sad that the tents are moving because they do validate the garment center,” said Nanette Lepore, who produces 85 percent of her collection within five blocks of her office. “The tents give you an image of strength.” Ms. Lepore, along with designers like Anna Sui and Yeohlee, have been leading a “Save the Garment District” campaign for more than a year in response to city proposals that would end protective zoning for its manufacturers.

“I love the fact that Bryant Park was where they chose to do the shows because I love the garment center,” Ms. Sui said. “And to this day, we still wheel the racks to the show ourselves.”

Although it was once the largest source of manufacturing jobs in the city (representing more than 200,000 workers in the 1970s), there was little respect then for New York fashion in the rest of the world. Apart from a handful of major brands, very few New York designers had been exposed to an international audience, and hardly any had stores o verseas.

That is, not until the designers decided to show their collections together in a central location, as a major media event, as their counterparts in Paris and Milan had done for decades. Their first season, in which virtually every major designer showed in the park, drew coverage from CNN, CBS, NBC, the BBC, VH-1 and MTV. Now organizers of Fashion Week typically receive 3,000 requests for media credentials each season.

“Fashion in the ’80s in New York was still very provincial,” said Stan Herman, the designer who was president of the Council of Fashion Designers of America at the time. “We had designers, but we had no cohesiveness. We were just a way station for fashion.”

The catalyst for banding together was a Michael Kors show, in 1991, in a raw Chelsea loft, when the booming music caused the walls to shake and a big chunk of the ceiling to fall onto the runway, clipping Suzy Menkes, the fashion editor of the International Herald Tribune, on her well-regarded head. She made only brief mention of the incident in her review. But, angered that no one seemed to take it very seriously, she slammed the chaotic disorganization of the New York shows in comments to Women’s Wear Daily.

“She called us second-raters,” Mr. Herman said. “Everybody looked at each other and said, ‘We’ve really got to do something about this.’ She was one of the few editors from Europe who came to America.”

Persuading the designers to show in one place, however, was as much of a challenge as securing the use of the park, a task that fell to Fern Mallis, who was then the executive director of the council and the person widely credited with conceiving the event. She described a meeting at which several young but reluctant designers kept asking whether Calvin Klein had agreed to show there. Mr. Klein happened to be in the room and announced his support.

“This was the most important thing we could do for our industry,” Ms. Mallis said. “It was the right moment for American fashion.” But Ms. Mallis has also faced critici *** .

As the event grew larger, from 42 shows under 2 tents and inside the New York Public Library in 1993 to more than 65 in 3 tents this season (hundreds more designers show independently), corporate sponsorship took on more prominence. Sponsors like Mercedes-Benz, Olympus, General Motors, M.A.C., Evian, Fiji, Dunkin’ Donuts, McDonald’s, Delta, the Bermuda Department of Touri *** and Kohler, the toilet maker, paid handsomely to feature their products and messages in the limelight of Fashion Week. In 2001, the fashion council sold its runway operations to IMG, the global marketing company. That, in turn, led to sniping that Fashion Week had come to resemble a trade show, or a car dealership. Many of New York’s marquee designers now show their collections elsewhere.

THE complaints may be somewhat unfair. What is not often noted is how closely the explosion of marketing noise around Fashion Week mirrored the increasing globalization and corporate slickness of fashion itself over the last two decades. Without a lot of money and marketing behind them, it is harder for new designers to construct and produce a *** all collection on their own. “It’s important to maintain the dream that it is possible to become a designer,” Ms. Sui said. “But how do you do that? The only thing that made it possible for me was that I had accessibility to this area and really figured out my resources.” If the local button-makers and fabric suppliers and factories all close, she said, “everything cannot just be available over the Internet.”

Can Lincoln Center, already associated with so many things besides fashion, ever give fashion designers the same sense of belonging as did Bryant Park? It bothers many of them no end that their craft is perceived a lesser (if not the least) form of art, that the costume galleries at the Metropolitan Museum of Art are in the basement, or that an appreciation of style is often remarked upon as a liability to politicians, athletes and intellectuals.

Designers are making the best of it.

“When you think of Lincoln Center, you think of the arts, the music, the dance and the opera, so I think being there will elevate and celebrate fashion as an art,” said Donna Karan, who happened to be the very first designer to have a runway show in Bryant Park when the tents opened on Halloween in 1993. Many of her peers, in interviews and in the comments plastered on the front of the tents, repeated the belief that Lincoln Center will legitimize them, not just as designers, but as artists.

Not one of them mentioned that the new location is home to another seasonal event that takes place under a big tent, one that is perhaps an even more apt metaphor for Fashion Week.

That is, of course, the Big Apple Circus.

地理一直是在曼哈頓麥迪遜大街的地方，百老匯和華爾街的職業(yè)速記品牌方便的形式盡可能多首曲目，因?yàn)樗麄兊牡刂贰?

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時代主題：紐約時裝WeekReaders的評論

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作為紐約時裝周的家，布萊恩特公園，為大部分的世界中，時尚的代名詞。這是因?yàn)槠鋸V泛的開放式草坪也經(jīng)常提到的第七大道，到那里就像唐娜卡蘭，奧斯卡德拉倫塔和卡羅萊納埃雷拉著名設(shè)計師他們的辦公室，裝修的區(qū)別作為服裝區(qū)后院。因此，當(dāng)紐約模特是一個大帳篷下在1993年有集中的，它提出了尖銳的敘述，以顯示他們是從那里正在創(chuàng)建的衣服只有幾個街區(qū)。

當(dāng)然，有很多人當(dāng)時，因?yàn)楝F(xiàn)在，誰認(rèn)為這是一個非常令人震驚的是一堆的時裝設(shè)計師應(yīng)該允許拍照只是公開在市中心區(qū)綠地的邀請，只只修補(bǔ)過的事情。它可能不會有明顯的原因時裝顯然將影響到成千上萬的游客和乘客誰走過每一天，由交通惱火，由名人，困惑興奮的服裝。

但現(xiàn)在，經(jīng)過與設(shè)計師和公園管理長期爭端，時裝周，在布賴恩特公園從今天開始將是最后一次，在活動前移至林肯中心在秋季。

它的大門，在第41街的美洲大道，是印有幾十個設(shè)計師的報價，編輯和所有集體表示相信，在布賴恩特公園展示的是什么使紐約市的全球時尚之都宣傳員。從安娜溫圖爾，在時尚的編輯，一個掛在門口：“布賴恩特公園成為燈塔什么紐約時裝代表 - 一產(chǎn)業(yè)的無畏，不知疲倦，永遠(yuǎn)前進(jìn)。”

然而，很少有人錯過了這個象征意義，脫離布萊恩特公園是在一個時刻發(fā)生在服裝區(qū)，從第34至第40和第九屆大街之間的百老匯街，在一個深刻的衰退狀態(tài)。

誰制造了自己的家園有賣紐扣，花邊，布料，線打樣，生產(chǎn)服裝和西服工廠沿著小街，已消失在過去10年的驚人速度。服裝生產(chǎn)的大部分轉(zhuǎn)移到海外的工廠早就便宜。經(jīng)濟(jì)衰退，并從業(yè)主誰想要轉(zhuǎn)化為豪華公寓，酒店和寫字樓廠房的壓力，造成他們逃離該地區(qū)更多。

現(xiàn)在走帳篷，該工作照常進(jìn)行在附近最明顯的形象。

“這是可悲的帳篷，因?yàn)樗麄冋谧鲵?yàn)證的服裝中心，”說納內(nèi)特萊波雷，誰制造了她收集了她的辦公室在5塊百分之85。 “這些帳篷給您力量的形象。”萊波雷女士，以及像安娜蘇和Yeohlee設(shè)計師，一直在領(lǐng)導(dǎo)一個“拯救制衣區(qū)”的一年多運(yùn)動，針對城市的建議，將結(jié)束保護(hù)區(qū)劃其制造商。

“我愛布賴恩特公園的事實(shí)是，他們選擇這樣做的節(jié)目，因?yàn)槲覠釔鄯b中心，”隋女士說。 “為了這一天，我們?nèi)匀卉囕喌臋C(jī)架來顯示自己。”

雖然它曾經(jīng)是城市的代表在20多萬工人在20世紀(jì)70年代（制造就業(yè)機(jī)會的更大來源），很少有尊重紐約 在世界各地的時裝然后。除了極少數(shù)的大品牌，很少紐約設(shè)計師已經(jīng)暴露在國際觀眾，幾乎沒有任何有商店海外。

也就是說，直到顯示的設(shè)計者決定在中心位置的 *** 在一起，作為一個大型的宣傳活動，因?yàn)樗麄兊耐性诎屠韬兔滋m進(jìn)行了幾十年。他們的之一個賽季，其中幾乎所有主要設(shè)計師在公園發(fā)現(xiàn)，吸引了來自美國有線新聞網(wǎng)報道，哥倫比亞廣播公司，全國廣播公司，英國廣播公司，VH - 1等和MTV。現(xiàn)在，時裝周的組織者通常會收到3000媒體憑據(jù)每個賽季的請求。

“在80年代在紐約時裝仍然非常省，”斯坦赫爾曼說，設(shè)計師誰當(dāng)時的美國時裝設(shè)計師協(xié)會會長。 “我們的設(shè)計師，但我們沒有凝聚力。我們只是一個時尚中途站。“

為聯(lián)合起來的催化劑是邁克爾科爾斯顯示，在1991年，在原切爾西閣樓，在音樂的蓬勃發(fā)展所造成的震動和墻壁的天花板大塊下降到跑道上，剪報蘇茜門克斯，時尚主編國際先驅(qū)論壇報，對她很好，把頭部。她只對在事件中簡要地提到她的審查。但是，似乎激怒了，沒有人采取非常認(rèn)真，她撞上了紐約混亂的混亂表明女裝日報的評論。

“她叫我們第二評價者，”Herman先生說。 “大家面面相覷，說：'我們真的必須做的事情。'她是誰從歐洲到美國的少數(shù)幾個編輯器之一。”

說服設(shè)計師顯示在一個地方，然而，作為一個為確保公園的使用，一個任務(wù)，下降到弗恩Mallis，誰當(dāng)時安理會的執(zhí)行董事和廣泛的人設(shè)想的許多挑戰(zhàn)記事件。她描述了一個會議，會上幾位年輕的設(shè)計師一直在問，但不愿卡爾文克萊是否已同意以顯示那里。克萊因先生正好在房間里，并宣布他的支持。

“這是最重要的事情，我們能為我們的行業(yè)，”Mallis女士說。 “這是為美國時尚時機(jī)。”但Mallis女士也面臨批評。

隨著事件越積越多，從42顯示的2頂帳篷和內(nèi)部紐約公共圖書館在1993年超過65本賽季在三頂帳篷（數(shù)以百計的獨(dú)立設(shè)計師展示），企業(yè)贊助了更多的重視。贊助商如奔馳，奧林巴斯，通用汽車，陸委會，依云，斐濟(jì)，鄧肯甜甜圈，麥當(dāng)勞，三角洲，旅游和科勒，馬桶制造商支付豐厚的地域特色的時尚風(fēng)頭他們的產(chǎn)品和信息，百慕大部周。 2001年，時裝理事會出售其跑道運(yùn)作，IMG公司，全球營銷公司。這反過來又導(dǎo)致了狙擊的時裝周已經(jīng)到了像一個貿(mào)易展，或汽車經(jīng)銷商。紐約的大牌設(shè)計師展示他們的收藏現(xiàn)在許多其他地方。

投訴可能有點(diǎn)不公平。什么是不經(jīng)常注意的是如何緊密地圍繞時裝周的營銷噪聲爆炸鏡像，在過去二十年的日益全球化和企業(yè)本身的時尚華而不實(shí)。如果沒有金錢和營銷背后的很多，現(xiàn)在是進(jìn)行新的設(shè)計和生產(chǎn)難度，構(gòu)建自己的一個小 *** 。他說：“重要的是要保持夢想，有可能成為一名設(shè)計師，”隋女士說。 “但是你怎么做呢？唯一使我有可能是我更容易了解這一領(lǐng)域，真正找到了我的資源。如果本地按鈕，制造商和面料供應(yīng)商和工廠都關(guān)閉時，她說“，”一切都不能只可在互聯(lián)網(wǎng)。“

可以林肯中心，除了已經(jīng)與時尚相關(guān)的許多事情，不斷給時裝設(shè)計師對屬于同一布賴恩特公園一樣的感覺？這其中許多煩惱，他們的船是沒有知覺結(jié)束較小（如果不是至少）形式的藝術(shù)，這在大都會藝術(shù)博物館服裝館是在地下室，或欣賞的風(fēng)格是常說的后一個政治家的責(zé)任，運(yùn)動員和知識分子。

設(shè)計師們更大限度地利用它更好的。

“當(dāng)你覺得林肯中心，你認(rèn)為藝術(shù)，音樂，舞蹈和歌劇，所以我覺得在那里慶祝會提升和時尚作為一種藝術(shù)，說：”唐娜卡蘭，誰正好是之一個設(shè)計師有一個在? ?賴恩特公園跑道表明，當(dāng)帳篷在萬圣節(jié)開幕于1993年。她的許多同齡人，在采訪中對帳篷前貼的意見，反復(fù)相信林肯中心將合法化，他們不僅是設(shè)計師，但是，作為藝術(shù)家。

沒有一個人提到的新的位置是家庭到另一個季節(jié)性事件，需要下大帳篷，一個is或許是時裝周更貼切的比喻more地方。

也就是說，當(dāng)然，大蘋果馬戲團(tuán)。

英語詞匯麻將解析：麻將中英文術(shù)語

Mahjong (/mɑ?????/ mah-ZHONG) is a tile-based game that originated in China during the Qing dynasty. It is commonly played by four players (with some three-player variations found in South Korea andJapan). The game and its regional variants are widely played throughout Eastern and South Eastern Asia and have a *** all following in Western countries. Similar to the Western card game rummy, Mahjong is a game of skill, strategy, and calculation and involves a degree of chance.

The game is played with a set of 144 tiles based on Chinese characters and symbols, although some regional variations may omit some tiles and/or add unique tiles. In most variations, each player begins by receiving 13 tiles. In turn players draw and discard tiles until they complete a legal hand using the 14th drawn tile to form 4 melds (or sets) and a pair (eye). A player can also win with a *** all class of special hands. There are fairly standard rules about how a piece is drawn, how a piece is robbed from another player, the use of simples (numbered tiles) and honors (winds and dragons), the kinds of melds allowed, how to deal the tiles and the order of play. Despite these similarities, there are many regional variations to the rules including rather different scoring systems, criteria for legal winning hands and even private table rules which distinguish some variations as notably different styles of mahjong.

Every Monday and Thursday afternoon in Bryant Park, one of most illustrious public places in downtown New York City, the clink of intricate tiles and ignited outbursts from drawing an unlucky piece can only mean one tantalizing game: mahjong. Mahjong, originated in China about 150 years ago, is a fascinating, gin rummy-like game played with tiles rather than cards. The game has evolved to become a popular American pastime since it was first introduced to the U.S. in early 1920s.

每周一和周四下午，在坐落于紐約曼哈頓市中心的布萊恩特公園，伴隨著麻將牌的碰撞聲和人群中爆發(fā)的陣陣吆喝聲，麻將牌友們縱橫捭闔、大殺四方。起源于中國的.麻將于 20 世紀(jì) 20 年代傳入美國，現(xiàn)在已成為受美國人歡迎的消遣方式。

"We play with a card, a mahjong card," Linda Fisher, Bryant Park's mahjong area organizer, explained major differences between Chinese and American/Jewish style of the game.

記者看到，美國人打麻將，都會在桌邊放一張小卡片。" 這是美國麻將聯(lián)盟發(fā)布的年度美式麻將規(guī)則卡，" 布萊恩特公園的麻將區(qū)組織者琳達(dá) · 費(fèi)希爾向記者介紹中國麻將和美式麻將的區(qū)別。

Traditional Chinese mahjong sets have 144 tiles, while American version is played with eight additional joker tiles and score cards that are published annually by non-profit organizations like National Mahjong League. And every year the card changes just to keep it interesting, so they have to match the patterns on the card instead of making the kinds of Pengs and Kangs and Ches that the other styles of mahjong (have). So the scoring's different.

傳統(tǒng)中國麻將有 144 張牌，而美國麻將還另有 8 張鬼牌(百搭牌)。費(fèi)希爾說，與中國麻將固有的 " 碰 "" 杠 "" 吃 " 打法不同，美國麻將聯(lián)盟每年更換麻將規(guī)則卡，列出新的可以得分、贏牌的麻將組合，以保持其趣味性。

【(公眾號：英語學(xué)習(xí))】

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一座位于紐約曼哈頓最中心地帶的公寓，其奢華讓人嘆為觀止！

布萊恩特公寓位于美國紐約曼哈頓區(qū)，是全世界人口最稠密、經(jīng)濟(jì)最繁榮的地方之一，居住在此，如同生活在世界的十字路口，被繁華環(huán)繞。

如果要為寸土寸金、高樓林立這類字眼找一個代名詞， 紐約曼哈頓 必定會成為更佳選擇之一，這里的車水馬龍與繁華不夜天，充斥在影視作品、雜志畫刊、和世人的無盡想象里。

位于曼哈頓中城區(qū)的 BRYANT PARK 被譽(yù)為城市公園復(fù)興的終極范例，在市民心目中，它是僅次于中央公園的城市綠地。紐約公共圖書館矗立在長方形草坪的盡頭，平日里的布萊恩特公園恬靜閑散，到了每年的紐約時裝周，便又成為了鎂光燈聚集的時尚圣地。

而布萊恩特公寓的建造之處是曼哈頓中城區(qū)僅存的一塊風(fēng)水寶地，周圍聚集了紐約幾乎所有的摩天大廈以及奢華商業(yè)區(qū)，與美國最繁忙的交通樞紐中央車站也僅一街之隔。

步行幾個街區(qū)便可到達(dá)帝國大廈、蘋果門店等曼哈頓地標(biāo)建筑。

正如《欲望都市》中的時髦女郎們生活的場景，曼哈頓中城區(qū)的街頭 處處彌漫著時尚與前衛(wèi)的氣息 ，寶格麗、蒂凡尼、華倫天奴等品牌門店及奢侈品商場Bergdorf goodman就靜靜地隱藏在某個街角。

布萊恩特公園鬧中取靜，精致的特色餐飲與生鮮大賣場距離公寓也僅一步之遙，這里是紐約式生活的更佳寫照。

大衛(wèi)·奇普菲爾德向來不追求“奇觀”式的建筑外觀，作為一名 崇尚極簡主義的建筑大師 ，他成功克服了周遭現(xiàn)有的建筑與綠化景觀的掣肘，將布萊恩特公寓完美融入到了發(fā)展已極度成熟的曼哈頓市中心，使建筑在城市的夾縫中和諧生長。

與其他耀眼的玻璃塔樓相比， 布萊恩特公寓的水磨石外立面 顯得低調(diào)卻不失設(shè)計感，這種更為環(huán)保且具有親和力的古老材質(zhì)近年來大有復(fù)辟的趨勢。

這座34層的公寓除了底層的酒店外還包含了57套豪華住宅，不同的樓層都可觀賞到不同的城市景觀，31層以上便可 將紐約的天際線盡收眼底 。

公寓的1至15層為精品酒店，15層以上的業(yè)主則可享受由酒店物業(yè)提供的 *** 、健身、洗衣、餐飲等服務(wù)。被精美大理石包圍的私人大廳休息區(qū)對業(yè)主24小時全天候開放。

紐約曼哈頓，這里被稱作世界的十字路口，當(dāng)人們抬頭仰望聳立天際的帝國大廈，視線便會經(jīng)過此處，布萊恩特公寓的云端生活。

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