暴发户的

His new position was not an easy one, placed as he was in the midst of an upstart metropolis, half Western, half Oriental, in the neighbourhood of a court in which luxury and intrigue always played the most prominent parts, and at the head of the clergy composed of most heterogeneous elements, and even (if not canonically, at least practically) at the head of the whole Byzantine episcopate.

他的新职务是不容易的，放在他的是在复杂多变的一个暴发户大都市，有一半西方，东方的一半，在附近的一家法院，其中奢侈品和阴谋一直扮演着最突出的部分，在总的神职人员组成的最异质元素，甚至（如不canonically ，至少几乎）在头部的整个拜占庭主教。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

However this does not mean consumers are ignorant parvenus.

在研究方法的部份，主要是运用质化研究的深度访谈法为主，并搭配参与观察法予以辅助，研究发现：在这个族群里的消费者，影响其购买名牌包的主要原因仍是停留在韦伯伦所说的炫耀性消费，但是这并不代表这群消费者是毫无知识、品味的暴发户，这群消费者已开始懂得去吸收名牌的相关知识来搭配自己的消费行为，不过尚属於较低层次的文化资本阶段；另外中间阶层的消费者对於名牌的知识来源主要是经由大众传播媒体所获取，而其他讯息的来源亦会对消费者造成一定程度的影响，不过主要讯息来源仍仰赖大种传播媒体的提供；最后，在社会资本方面呈现出男、女有别的情况，在女性方面，社会资本对於名牌包的消费影响力并非直接提供资源予消费者，而是透过社会资本来延伸消费者的文化资本，但是在男性方面，则表现出截然不同的情况，名牌包对於男性消费者有著工具性消费的意义，男性消费者呈现出一种强烈利用名牌包来达成自己目的的行为。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。