天涯部落

小圈子,大声音!呼朋引伴网聚部落!

创建新部落?

上海曙光医院切眼袋手术价格同城健康

楼主:求医养生 时间:2019年11月20日 19:16:49 点击:0 回复:0
脱水模式给他打赏只看楼主阅读设置
Women tend to have a lot of ‘what if’ in life. We all have that someone who we wish we can turn back time and see what if it did not happen, or what if we did not say that? Would it have changed something?女人的生活中总是会有许多“假如……会怎么样”。我们都会有一个人,他会让我们希望自己能够时光倒流去看一下如果没有发生的话会怎么样,或者如果我们没那样说会怎么样?那样会改变什么吗?Maybe for me, he was never an ex, not the one who got away, just an almost-something, almost maybe, the biggest what if but never the answer to my questions.或许对我来说,他永远不会是前任,不是可以逃离的人,几乎是一种存在,近乎也许,最大的假设,但是从来都不会是我问题的。No matter how many years have passed, he is the one person who can make all the feelings come back just by a sight of him, only because I keep on asking myself what went wrong.无论多少年过去了,只要看他一眼,就会将你所有的感觉全部诱惑出来,只是因为我总是一直问自己到底是出了什么问题。Why do we have a hard time forgetting someone?为什么我们很难忘记某个人?Maybe the heart will never forget because it is where love was cultivated. It is where it hurts the most too and with a love and pain like that, how can I forget and truly say it moved on?或许你的心永远不会忘记,因为那里是滋养爱的地方。那里也是受伤最多的地方,爱和痛并存的地方,我又如何能忘记,真正说已经过去了呢?I have always been a fan of all the romantic ideas, maybe because what is cliche feels perfect, and human loves the idea of perfection, but as soon as the grandeur of all those things starts to fade, I can feel that wrenching part inside of me, because if all good things must come to an end, why would it had to be that short? It seems unfair and cruel.我一直是着迷于所有浪漫的想法,或许因为那些陈词滥调让我感觉很棒,人类喜欢完美的思想,但是一旦所有那些美好都开始褪去的时候,我会感觉内心的痛苦挣扎,因为如果所有美好的事物都要最终结束,为什么会如此短暂呢?这似乎不公平,很残忍。Every time we meet someone, we hold on to what seems like forever, without realizing that it was just a borrowed time, we grasped on to it like a dream and relish it, but not having too much time to say everything we want.每次我们见到某个人的时候,我们总是坚持那些看起来永远的想法,没有意识到那只是借来的时间,我们就像是抓住了一个梦,然后享受,但是却没有太多时间去说出我们想要的一切。 /201701/489943As heritage continues to obsess the industry, the fashion archive is becoming highly prized. 随着古董时装持续走红时装界,时装档案馆也越来越受到追捧。Brands are pouring resources into building museums in which to house their collections, while canny young designers are buying back garments from clients, or bidding against collectors and museums to retrieve rare vintage pieces with which to build their own.各大品牌开始投巨资建物馆,用来收藏旗下历年推出的时装系列,精明的年轻设计师则从客户手中回购时装,或是从藏家手中和物馆竞拍回珍稀限量款,以丰富自己的藏品。Many brands are now using their archives to produce exhibitions as a way of extending their brand message. 很多品牌公司如今用自己的馆藏举办展览,作为扩大自己品牌影响力的手段。The Fondation Pierre Bergé — Yves Saint Laurent will open two museums in autumn 2017, in Paris and Marrakesh, to celebrate the work of its founder, Yves Saint Laurent. 皮埃尔#8226;贝尔热-伊夫#8226;圣#8226;罗兰基金会(Fondation Pierre Bergé-Yves Saint Laurent)建于巴黎与马拉喀什(Marrakesh)的两家物馆将于2017年秋季正式开馆,用来纪念品牌创始人伊夫#8226;圣罗兰的杰出成就。The Gucci Museum, which opened in Florence in 2011, recently announced acquisitions from Tom Ford’s era at the house. 古驰物馆(The Gucci Museum)2011年在佛罗伦萨开馆,它近日宣布收购汤姆#8226;福特(Tom Ford)担任古驰创意总监时期所推的时装。The Missoni archive is on display at the Fashion and Textile Museum in London (until September 4).米索尼(Missoni)各个时期推出的时装不久前也在伦敦时装与纺织品物馆(Fashion and Textile Museum)展出。There’s a dawning realisation that if you want to be a so-called heritage brand, you have to be able to tell the story through objects, explains Sonnet Stanfill, fashion curator at the Victoria and Albert Museum. 如今各大品牌开始意识到:若要成为底蕴深厚的品牌,就得通过自己各时期推出的时装讲述前世今生。伦敦维多利亚和阿尔伯特物馆(Victoria and Albert Museum)时装策展人索妮特#8226;斯坦菲尔(Sonnet Stanfill)这样解释道。An archive can be useful for design inspiration, for lending to an exhibition, or for if you think you’d want to do your own retrospective.时装档案能有效启发设计灵感,也可友情参展,还能自办品牌回顾展。Shonagh Marshall, a freelance curator who archived Alexander McQueen’s collection in preparation for the Met’s Savage Beauty exhibition in 2015, and who has also worked on the archive collections of Christian Louboutin and the late stylist Isabella Blow, agrees. 自由策展人肖纳格#8226;马歇尔(Shonagn Marshall)对此也深以为然。 为了参加纽约大都会物馆2015年举办的亚历山大#8226;麦昆(Alexander McQueen)野性之美时装特展(Savage Beauty),他精心收藏了对方各个时期设计的时装;他还致力于克里斯蒂安#8226;娄伯丁(Christian Louboutin)以及已故知名设计师伊莎贝拉#8226;布罗(Isabella Blow)的资料档案收藏。The motivation often lies in the sense of building a brand, which is now entwined with cultural heritage. Keeping those objects means keeping a sense of narrative — without them you have no assets.建立档案馆的动机通常在于打造品牌意识,如今它与文化遗产紧密关联。收藏这些物品意味着传承历史——品牌没有它们,就谈不上有什么内涵。Kerry Taylor, who runs her own auction house, is considered a world leader in vintage fashion, antique costume and textiles. 经营时装拍卖行的凯丽#8226;泰勒(Kerry Taylor)是当今世界在复古时装、仿古装及纺织品方面的老大。She often finds herself selling back items to design houses prepared to pay huge sums for missing pieces.她经常把一些藏品回售给各大品牌,对方愿出巨资购买自己漏藏的款式。Some of the more established brands, such as Dior, Balenciaga and Chanel, really see the value in buying back their heritage, she explains. 迪奥(Dior)、巴黎世家(Balenciaga)以及香奈儿(Chanel)这些时尚大牌现在真正认识到了回购老款时装的重要意义。The Chanel archive in Paris is like a glamorous high-security prison. Everything has black lacquered sliding cabinets. 她这样解释道,巴黎的香奈儿档案馆犹如一座光夺目、戒备森严的监狱,各种馆藏品都挂在滑动式黑漆柜中。If Karl Lagerfeld wants to look at something from the 1920s or 1930s, there it is, beautifully stored and catalogued. 老佛爷(Karl Lagerfeld)若想欣赏上世纪20、30年代的香奈儿款式,来这里就可以了,它们分门别类存放于此,依然光鲜亮丽。Not only does it reinforce the importance of the brand itself, [but also] when new designers come along they can plunder it for ideas — and stay within the house.此举不仅巩固了品牌自身的江湖地位,而且当年轻设计师参观时,能够长时间驻足其中,汲取设计灵感。Pierre Bergé, one-time romantic partner and longtime business partner of Saint Laurent, started building the Saint Laurent archive soon after the brand’s foundation. 皮埃尔#8226;贝尔热曾是圣罗兰的情人及长期商业合伙人,圣罗兰创牌后不久,他就开始着手创建品牌档案馆。It was a prescient move.此举颇有先见之明。Yves decided to keep a dress for the first time in 1964, only two years after we founded the couture house, says Bergé. 1964年,伊夫第一次决定收藏自己设计的一款裙子,这距我俩创牌仅过了两年时间。贝尔热回忆道。I remember it very well, it was a brown lace dress that he loved very much.我记得非常清楚,这是一款他爱不释手的棕色蕾丝裙。The Fondation Pierre Bergé-Yves Saint Laurent has since become a huge enterprise. 皮埃尔#8226;贝尔热-伊夫#8226;圣#8226;罗兰基金会逐渐成为规模空前的物馆。Besides the 5,000 garments and 15,000 accessories, our archive also contains all the original drawings, as well as the atelier’s specification sheets, the collection boards and a large number of press articles, photos and s of collections, he continues. 除了收藏的5000件时装以及15000件配饰外,我们的档案馆还藏有最原始的草图以及工作室的规格表、采集板和大量时装类新闻稿、照片及视频。Each piece is stored on our premises under optimal conditions: air conditioning, humidity controls, anti-acid paper. 他继续道,每一件馆藏品都存放于最佳环境中:空调、湿度控制以及耐酸纸。About 10 people, mainly trained museum specialists, work on the preservation and the documentation of the collection. 大约10位(多为训练有素的物馆专业人员)负责藏品的保存及归档。Bergé is proud of his ability to share the YSL story with both the public and those who head up the design department — including newly appointed creative director Anthony Vaccarello. 能与普通民众及圣罗兰设计室诸负责人(其中包括新任创意总监安东尼#8226;瓦卡莱洛(Anthony Vaccarello))共同分享圣罗兰品牌的辉煌历史,贝尔热对自己的成就颇感自豪。Since we closed the couture house in 2002, the archives have always been made available to the designers from the y-to-wear house. 自我们2002年退隐江湖后,档案馆一直向圣罗兰的设计师开放。Hedi Slimane [who left this year, and borrowed heavily from the house’s original 1960s design aesthetic] came many times. 前任创意总监艾迪#8226;斯理曼(Hedi Slimane)来过很多回。He is a great connoisseur and admirer of Yves’ oeuvre. 他从圣罗兰上世纪60年代的设计理念借鉴颇多,他是圣罗兰时装的鉴赏大师及超级粉丝。Anthony Vaccarello immediately asked to come and visit the archives.安东尼#8226;瓦卡莱洛一上任,就请求来档案馆参观。One would assume most designers appointed at a house have free rein of their archive. It isn’t always so. 大家可能会认为:大多数创意总监可随意配所在品牌公司的馆藏档案,但事实并非如此。Demna Gvasalia, the new creative director of Balenciaga, spent several weeks in the archive after he joined this year; his pre-fall collection featured oversized shearling scarfs with the house branding that were an exact copy of a 1930s original. 戴姆纳#8226;瓦萨利亚(Demna Gvasalia)今年新晋巴黎世家新任创意总监后,曾花了数周时间泡在档案馆;他的早秋系列主推印有巴黎世家品牌标识的特大款羊绒围巾,它们与上世纪30年代的款式一模一样。But his predecessor, Nicolas Ghesquière, had a very different experience when he joined the house in 1997.但瓦萨利亚的前任尼古拉斯#8226;盖斯基埃(Nicolas Ghesquière)1997年出任巴黎世家设计总监时,则境况大不相同。For years Ghesquière was blocked from the archive, partly because the pieces didn’t actually belong to the corporate group that bought the Balenciaga name, and partly due to tensions with the keeper of the keys, Marie-Andrée Jouve. 盖斯基埃好多年都无法进档案馆参观,部分原因是其馆藏品并不真正属于购买巴黎世家商标名的开云集团(Kering),部分原因是他与档案馆的钥匙掌管者玛丽亚-安德蕾#8226;朱维(Marie-Andrée Jouve)关系紧张。He was only granted access in 2002, when the house was acquired by the Gucci Group.他到了2002年才获许入馆,当时巴黎世家已被新东家古驰收购。Other archives are simply the victim of disorder. 有些档案馆则完全毁于管理失当。The Givenchy archive; now there’s a shame, sighs Kerry Taylor. 纪梵希(Givenchy)档案馆如今成了业界耻辱。Things by Hubert de Givenchy have never been properly catalogued. 凯丽#8226;泰勒叹气道,于贝尔#8226;德#8226;纪梵希(Hubert de Givenchy)的档案资料从来没有准确分门别类。Their archivists come and go and it’s not a senior role. 他们的档案馆工作人员经常变动,完全是可有可无的角色。Bergé and Saint Laurent were pioneers. 贝尔热与圣罗兰则是建立档案馆的开天辟地者。None of today’s most important couture houses have archives like ours, he says. 如今大多数知名时尚品牌的档案馆都比我们逊色。They only realised the significance of having an archival department in the 1990s.他说,它们在上世纪90年代才意识到设立专门档案部的重要性。Today, Gucci has a museum. 如今古驰也建有自己的时装物馆。Twenty years ago it had nothing. 20年前的它在这方面可是白纸一张。I started the Gucci historical archives in 1997 from scratch, when the whole concept was very new and innovative, explains curator Grazia Venneri. 1997年,我们从无到有开始组建历史档案馆,当时整个理念非常新颖、颇具前瞻性。Unfortunately, the Gucci family never kept samples of their production. I had to carry out a systematic research and acquisition campaign; reaching out to celebrities, private collectors and collaborating with auction houses and vintage boutiques. 古驰档案馆馆长葛拉齐拉#8226;文内里(Grazia Venneri)解释道,遗憾的是,古驰家族过去从不保存自己所推时装的样品,我只得进行系统调研与收购活动;求助于名人与个人藏家,以及与拍卖行及旧货店合作。When I left Gucci in 2013 we had collected and catalogued more than 5,000 products and about 2,000 documents and vintage images.2013年我离开古驰时,已经收集与归类了5000多件时装以及大约2000件文档和老照片。Alessandra Arezzi Boza helped build the archive of Pucci, another major Italian brand. 亚历桑德拉#8226;阿雷齐#8226;扎(Alessandra Arezzi Boza)协助建立了意大利另一知名品牌璞琪(Pucci)的档案馆。I found a huge warehouse full of boxes, she says. 我最初看到的是堆满各种箱子的大仓库。Having been a family-run brand until 2000, with the headquarters located in the family palace, the Pucci archive had a great advantage: everything had been kept since the early 1950s — photographs, sketches, textile prints, press and of course garments and accessories — more than 30,000 items. 她回忆道,璞琪在2000年前一直是家族企业,总部就设在自家豪华别墅里,因此建立档案馆具有得天独厚的优势:自上世纪50年代初以来的一切东西都完整保留着——照片、素描图、纺织品印花、媒体文章,当然还有推出的所有装及配饰——总数超过3万件。But it all needed to be organised and brought alive.但所有东西需要分类归档以及‘激活’。Motivated by their experiences, Arezzi Boza and Venneri formed a consultancy that extends into strategy. 积累成功经验后,扎与文内里随后组建了拓展至战略筹划的咨询公司。As well as working with big Italian manufacturers keen to leverage their heritage, the duo plan to help emerging talent.除了与急切发挥自身悠久传统的意大利大品牌合作之外,他俩还计划助设计新锐以一臂之力。For young designers, the decision to keep an archive depends on pre-empting one’s future greatness. 对于年轻设计师来说,是否保存自己的时尚作品,在于自己能预知到将来必定会功成名就。Which can seem a little grandiose. 此举似乎显得有点不切实际。It’s a question of how important you think you’re going to be, a strange thought when you’re a recent graduate, says Shonagh Marshall. 关键在于你如何定位自己的未来,对初出茅庐的设计师来说,这样的想法的确有点不可思议。肖纲格#8226;马歇尔说。Then there’s the expense and space required to do it properly. 此外还有设立档案馆的费用与场地。You need not just the space but the proper storage infrastructure — thin, flat drawers for things that can’t be hung, rails, archival tissue, manpower, cameras, computers, says Stanfill. 你不仅需要建馆的场地,而且还需要必要的存储设施——存放无法挂放东西的窄平抽屉、横档、包装档案的薄纸、人手、相机以及电脑。If you’re in a rush, things pile up and disorder creeps in.斯坦菲尔说,追求短平快的话,东西就会堆积如山,失序自然就随之而来。Keeping things is a luxury few young designers can afford, even if the inclination to collect and reference their own past work is there. Cash flow concerns can mean items are sold off through sample sales. Or lost altogether. 不间断保存好自己作品需大量人力、物力与财力,年轻设计师可求不可得,即便内心存有收藏以及借鉴自己昔日劳动成果的意向,大量经费需求有时意味着得通过特卖活动忍痛割爱部分藏品,抑或说永远失去它们。In the early years, Alexander McQueen paid people in clothing, says Marshall. 亚历山大#8226;麦奎最早是用自己设计的时装付费用。There’s one famous lost collection; after a show he left the clothes in a bin bag outside a King#39;s Cross club because he didn’t have the money for the cloakroom. 马歇尔说,他失去自己的一款时装的事众所周知:一次时装发布会后,他把时装放在伦敦国王十字车站(King#39;s Cross)附近某俱乐部外的塑料垃圾袋里,因为他没钱把它们存放于衣帽间。The whole lot disappeared. But as the brand got bigger, the archive got bigger, particularly after his death in 2010. 这套时装就这样永远消失了。随着亚历山大#8226;麦奎品牌知名度越来越大,档案馆的藏品也愈加丰富(他2010年离世后尤为如此)。Sarah Burton regularly draws on it.萨拉#8226;伯顿(Sarah Burton)经常从中汲取灵感。London-based designer Gareth Pugh, whose work has been exhibited at the Met and the Vamp;A, has made an effort to keep as much as possible without the help of a formal archivist. 伦敦设计师加雷斯#8226;普欧(Gareth Pugh)的时装曾在大都会物馆以及维多利亚和阿尔伯特物馆展出,在没有正式档案专业人士帮助的情况下,他尽最大努力收藏自己的作品。The big expense is the storage — square footage in London does not come cheap, he says.最大的费用是存放场地——伦敦每平方英尺的租费价格不菲。他说。Designer Erdem Moralioglu, of Erdem, has also made a concerted effort to keep everything. 埃德姆创意总监埃德姆#8226;莫拉里奥格鲁(Erdem Moralioglu)也竭尽全力收藏自己的一切作品。Both he and Pugh keep their work in external storage facilities, outside of their studios. 他与普欧把收藏的时装存放在自己工作室外的存储设施里。Like Pugh also, Moralioglu has made do without an archivist, although is looking to employ one. 与普欧一样,莫拉里奥格鲁也是在毫无档案专业人员的帮助下努力为之,尽管他最近打算聘请一位。Like Chanel, Gucci and other mega brands, he aly seems aware of the importance of heritage: he used his 10-year brand anniversary in 2015 as a chance to spotlight past hits.与香奈儿、古驰等大名牌一样,他似乎也意识到了传承的重要意义:2015年,他运用自己创牌10周年纪念活动之契机,集中展示了自己过去所推时装精品。In doing that project, I realised very quickly how many things were missing, he explains. 在做的过程中,自己很快意识到漏藏了好多款式。There’s a stylist in New York who has a dress from my first collection that I don’t have. 他这样解释道,纽约有位设计师收藏了我平生首个时装系列的一款裙子(我自己却没有这款藏品)。So I’m desperate to try to buy it off her — it’s funny to be buying back my own stuff. 所以我非常想从她手上回购它——买回自己设计的时装真是件逗事。To him, it’s worth the trouble. 在他看来,如此折腾完全值得。We’re all a project of what we’ve done and what we’ve shown, he says.我们所有人都是自身劳动成果的一部分。他说。Indeed, if there’s ever an illustration that brand and archive are one and the same, it’s Helmut Lang. 没错,若用例子来说明品牌与档案馆实际上完全是一回事的话,最合适的莫过于赫尔穆特#8226;朗(Helmut Lang)。After deciding to leave fashion in 2005, and after his namesake brand was bought by the Prada Group, he put 6,000 items through an industrial shredder.2005年,朗决定退隐江湖、其同名品牌由普拉达(Prada)收购后,他竟用工业粉碎机把所收藏的6000件时装作品一毁了之。As brands have become more interested in building their collections, so have the number of private collectors increased. 各大品牌建立自己档案馆的兴趣日渐浓厚,私人藏家的数量也是与日俱增。There are some collectors out there who have better archives than the houses themselves, admits Stanfill. 有些藏家的藏品甚至比时尚品牌公司自身馆藏都要丰富。It means the museums have to get their act together, says Kerry. 斯坦菲尔坦承道,这意味着各大品牌公司物馆得继续努力。They do have tight budgets, but if it’s of national importance then they need to prioritise. They can no longer wait.凯丽说,这些物馆预算不多,若要成长为具有全国影响力的时装档案馆,那么就得优先发展,因为时不我待。Kim Jones, men’s artistic director of Louis Vuitton, has access to the extensive Vuitton archive every day for inspiration, but he has also built an impressive private collection, dating from 1971 to 1992, that features more than 300 looks and encompasses everything, from club looks by 1980s performance artist Leigh Bowery to rare punk pieces by Vivienne Westwood and Malcolm McLaren. 路易威登(Louis Vuitton)男装创意总监金姆#8226;琼斯(Kim Jones)每天都可从公司包罗万象的馆藏作品中汲取设计灵感,但他个人的路易威登藏品也异常丰富(时间从1971年直至1992年),其中包括了300多套时装,它们应有尽有,从上世纪80年代行为艺术家利#8226;鲍厄里(Leigh Bowery)的夜店装束到薇薇恩#8226;韦斯特伍德(Vivienne Westwood)与马尔科姆#8226;麦克拉伦(Malcolm McLaren)的珍稀款朋克装。He’d like to eventually turn it into a book or exhibition, but, on a day-to-day level, he finds stimulus in the work of the names behind his pieces. 他想最终把它们付梓出版或是举办展览,但他每天都从这些藏品中汲取灵感。He’s lately appreciating their value, too. 他最近还认识到了这些藏品的价值。It was only recently, when I had to get it insured, that I realised how much it was all worth, he says.最近投保这些藏品时,自己才意识到它们价格不菲。他说。Value is an interesting word, says Marshall. 价值是个让人感兴趣的词。马歇尔说。For her, as for Jones, it’s the stories and sense of social history that make an archive truly relevant. 她认为,就琼斯而言,正是这些前世今生的故事与社会历史意识让时装档案馆意义非凡。Taylor agrees. It’s not a quick way to make money. 泰勒也持同样看法:这并非赚钱的捷径。And, whether the task falls on an individual or a brand, it requires a lot of patience. 而且,不管是个人还是品牌公司承担兴建档案馆的重任,都极需持久耐心。You have to hang on to things for quite a long time. 做这事得持之以恒、长期为之。Taylor pauses. But they can become very, very valuable.泰勒停了一会儿说,但这些藏品可能会变得价值千金。 /201609/465885

1) Improves physical performance1)提高你的身体活动能力There are days that you feel very tired after work and don’t want to go to the gym. When this happens, a brief nap can help. I bet that you aly know that a short nap makes you feel more active in comparison to a long nap. For example, I often tell my mother that I still feel tired when I’ve slept for several hours, but I feel very energetic when I’ve only slept for an hour or two.有的日子里你会感觉下班之后非常疲惫,不想去体育场。当你有这种感觉的时候,简单的小憩一会儿可能会有所帮助。我保你肯定早就知道短时间小憩一会儿要比很长时间的休息,能让你更有积极性。例如,我经常告诉我妈妈我在睡了好几个小时之后仍然感觉很累,但是是那个我只睡了一两个小时的时候,我会感觉精力充沛。Studies have found a correlation between short naps and improved athletic abilities, including faster sprint times and better motor reaction. This is why it’s recommended to sleep well for at least 7 hours a day.研究已经发现短时间小憩与提高运动能力之间的关系,包括速度更快的短跑以及更好的赛车表现。这就是为什么都建议每天要好好睡觉至少7个小时的原因。2) Reduces stress and anxiety2) 减轻压力和焦虑Not sleeping well can make you feel more irritable and stressful. To address the problem, you can take a nap. A 2012 study by the Journal of Clinical Endocrinology amp; Metabolism showed evidence of how taking a nap reduce stress hormones after sleep deprivation. The adults took two short naps during the day, each lasting about 30 minutes, and they had a poor night’s sleep of just two hours. Then, the researchers measured and compared stress hormones with people who didn’t take naps but were sleep deprived.睡眠质量不好会让你感觉更加易怒和压力山大。为了应对这一问题,你可以小憩一会儿。《临床内分泌学与新陈代谢杂志》2012年的一项研究用据表明了在睡眠缺乏之后,小憩一会儿减少压力荷尔蒙分泌的原理。成人在白天简短的休息两次,每次休息大约30分钟,而且每天晚上只有低质量的2个小时的睡眠。然后,研究人员测量对比研究了睡眠缺乏但是没有小憩的人的压力荷尔蒙。They found that one of the three stress hormones measured, called noradrenaline, increased the day after the sleep deprivation, but it didn’t increase in the adults who took naps. From this study, we can’t conclude a person recovers from stress by napping, but the short naps help to control the stress hormones. If you have children with bad behavior, they could be having trouble with their sleep. Sometimes they are like adults; we get cranky when we don’t sleep well, so try to take naps with them.他们发现,测量的3个压力荷尔蒙中的一个叫做“去甲肾上腺素”的荷尔蒙在睡眠缺乏之后会上升,但是那些小憩一会儿的成年人的这项荷尔蒙指标却没有上升。从这一研究,我们并不能总结出一个人可以通过小憩来从压力中恢复过来,但是小憩可以帮助控制压力荷尔蒙。如果你有行为表现不好的小孩儿,他们可能会在睡觉方面有问题。他们有时候会像成年人;当我们没睡好的时候,会感到暴躁,那就试着和孩子一起小憩一会儿吧。 /201702/493714

  • 上海交通大学医学院附属新华医院割双眼皮多少钱
  • 上海市奉贤区奉城医院整形飞助手
  • 上海仁济医院激光去斑多少钱管网
  • 玫瑰整容赞玫瑰13周年
  • 上海市中西医结合医院整形中心城市卫生
  • 上海复旦大学附属华东医院激光脱毛多少钱美助手玫瑰丰胸 李鸿君
  • 排名养生上海长海医院切眼袋手术价格
  • 好知识上海祛疤医院最好求医晚报
  • 静安区褐青色痣多少钱
  • 上海市长海医院美容整形科天涯中文
  • 杨浦区治疗狐臭多少钱平安解答黄浦区botox除皱多少钱一支
  • 玫瑰李鸿君鼻修复擅长
  • 光明共享黄浦区人民医院激光去掉雀斑多少钱
  • 上海市九院治疗疤痕多少钱
  • 妙手生活上海市人民医院韩式三点多少钱久久诊疗
  • 国际养生上海玫瑰做隆胸手术价格
  • 浦东新区去除黄褐斑多少钱88活动上海永久性脱毛的价格
  • 度社区上海鼻翼缩小好不好医护互动
  • 上海复旦大学附属华东医院去胎记多少钱服务大夫
  • 上海玫瑰专科整形医院
  • 上海激光脱毛多少钱
  • 康口碑上海润白颜哪家医院好
  • 88热点浦东新区中医医院治疗腋臭价格费用
  • 上海玻尿酸隆胸哪家医院好泡泡报
  • 上海市第九医院点痣多少钱
  • 上海女子美容医院
  • 上海中医药大学附属龙华医院治疗疤痕多少钱
  • 上海复旦大学附属中山医院脱毛多少钱ask时讯
  • 百度咨询上海市徐汇区宛平地段医院减肥瘦身多少钱
  • 嘉定额头除皱多少钱
  • 相关阅读
  • 瞒天过海!集体耕地上建厂房!村民:相关部门集体哑火(三)
  • 暮影战神武灵攻略大全
  • 唐嫣赵丽颖吴昕林允儿李易峰和谁最有感(图)
  • 酒类电商双罢斗
  • 南京查处违规补缴社保证明份购房证明被注销
  • 内蒙古自治区政协原副主席赵黎平一审被判处死刑
  • 近日李念与刚斩获年北京青年电影节影帝的巩峥出现在街边
  • 徐娇穿白袜撑伞古典韵味十足邻家有女初长成
  • 单机斗地主下载:首存优惠
  • 小学生作业本开口说话曝光盗伐林木团伙
  • 相关推荐

    发表回复

    请遵守天涯社区公约言论规则,不得违反国家法律法规