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His works are also widely collected by many museums worldwide, such as "the George R. Gardiner Museum of Ceramic Art" in Canada,"American Museum of Ceramic Art" in USA,"Faenza International Ceramics Museum" in Italy,"Zhenjiang Museum" and "Wuxi Museum" in China,"Boleslawiec Ceramics Museum" in Poland,"Tallinn Applied Art Museum" in Estonia, and "Nottingham Castle Museum" in England.

他的作品也被许多国内外的博物馆收藏，比如加拿大的「加得尼尔陶瓷博物馆」，美国的「波姆那陶瓷博物馆」，义大利的「法恩札陶瓷博物馆」，中国的「无锡博物馆」和「镇江博物馆」，波兰的「布拉什瓦给特陶瓷博物馆」，爱沙尼亚的「塔林应用艺术博物馆」和英国的「诺丁汉城堡博物馆」等等。

Collections: Shanghai Art Museum, Guangdong Museum of Art, Hong Kong Art Museum, Teda Contemporary Art Museum, Poston Art Museum of USA, Museum of Koninklijke Academie voor Schone Kunsten van Antwerpen, Museum of K.U.Leuven.

收 藏：上海美术馆、广东美术馆、香港艺术馆、泰达当代艺术博物馆、美国波士顿美术馆、美国纽约艾丝戴拉基金会美术馆、瑞士日内瓦奥兰斯卡基金会美术馆、比利时鲁汶大学博物馆、比利时安特卫普皇家美术学院博物馆、俄罗斯莫斯科比纳耶乌现代美术馆。

Yigal Ozeri has exhibited extensively throughout Israel, Europe and the United States, and his work can be found in many prominent collections, including Albertina Museum, Vienna; Hudson Valley Center for Contemporary Art, Westchester; Kennedy Center for the Arts, Washington DC; McNay Art Museum, San Antonio; Nerman Museum, Kansas City; Scheringa Museum of Realist Art, Netherlands; Tel Aviv Museum of Art, Israel; and The Jewish Museum, New York.

伊加勒厄泽里显示出了整个以色列，欧洲和美国，广泛他的作品中可以找到许多知名的集合，包括阿尔贝蒂娜博物馆，维也纳，哈得孙河谷当代艺术中心，威，肯尼迪的艺术中心，华盛顿特区； McNay艺术博物馆，圣安东尼奥； Nerman博物馆，堪萨斯城，Scheringa博物馆现实主义艺术，荷兰；特拉维夫艺术博物馆，以色列和犹太博物馆，纽约。

Group Exhibitions: in 2006, Process and Expression, The Scale of Picture Determines Attitude: the 1st 5x7 Photo Biennale, Direction, Mixture of Clear and Obscure: Chinese Contemporary Arts Exhibition; in 2005, Fan Shou Wei Yun Fu Shou Wei Yu: the 1st Exhibition of Beijing TS1 Contemporary Art Center, Skin of City—Research on the Possibility of Contemporary City Image (Tap Seac Gallery of Macao, Shenzhen Art Museum), Transparent Box, Untitled—Self-Project:'05 China Pingyao International Photograph Exhibition, Ten Points and Ten Colors (Soka Contemporary Space, Beijing), Tian An Men (Amsterdam Photo Museum, Holland), The 2nd Chengdu Biennale, Tomorrow without Glancing Back: Chinese Contemporary Art Exhibition (Kuandu Museum of Fine Arts, Taipei); in 2004, Meet by Chance, One to One: Their Sight (Chambers Fine Arts, New York, USA), Chinese Photo and Image Fine Arts, Times of Imitating Images; in 2003, Distance—Contemporary Art Invitational Exhibition of Guangdong Museum of Art (Guangdong Museum of Art, Guangdong), Left Hand and Right Hand: China and Germany Contemporary Art United Exhibition (Beijing 798 Space), Expression and Condition, Chinese Photo and Image Fine Arts (Art Museum of Beijing Normal University), Blue Sky without Defense; in 2002, Speak to Oneself, Chinese New Photo and Image Exhibition, Bridge: Contemporary Art Invitational Exhibition, Legend-Fabrication-Copy, Phenomenon, Chuang Ku Exhibition (Shanghai Dongdaming Chuang Ku Exhibition); in 2001, Knowledge is Power; in 1999, Contemporary Chinese Art Exhibition; in 1998, Surprise to Existence, In the City: Opening Oneself; in 1997, Chinese Art General Exhibition: Contemporary Oil Painting Exhibition.

联 展：2006年Process And Expression。&画幅决定态度&首届5x7照相双年展方向、虚虚实实—中国当代艺术展；2005年&翻手为云，覆手为雨&—北京 TS1当代艺术中心第一回展、城市的皮肤—当代都市影像的可能性研究（澳门塔石艺文馆、深圳美术馆）、透明的盒子北京SOHOU现代城）无题—自我投射2005中国平遥国际摄影大展、士点十色、天安门（荷兰阿姆斯特丹摄影博物馆）、第二届成都双年展、明日，不回眸—中国当代艺术展；2004年邂逅、&一对一&他们的目光、中国影像绘画、拟像时代；2003年&左手与右手&中、德当代艺术联展、表情与状态、中国影像绘画展、距离·广东美术馆当代艺术邀请展、蓝天不设防；2002年自言自语、中国新影像展、桥·当代艺术邀请展、演义·捏造·复制、现象、创库展；2001年知识就是力量；1999年当代中国艺术展；1998年对于存在的惊奇、在城市中—开放的自我；1997年中国艺术大展·当代油画艺术展·当代油画艺术展。

Project planning construction contents::Rizhao Maritime Museum mainly includes 5 parts: Marine Fishery Museum, Marine Salt Museum, Marine Transportation Shipping Exhibition Hall, Marine Biology and Aquarium Museum and Marine Disasters Science Museum.

该项目规划建设内容为：日照市海洋博物馆主要由海洋渔业博物馆、海洋盐业博物馆、海洋交通航运展览馆、海洋生物观赏馆、海洋灾害科普馆五个部分组成。

China deliciosus deliciosus Museum for display of Chinese history and the development of the industry, promote Chinese culture has a long deliciosus of great practical significance 1, deliciosus ----- deliciosus Science Museum Science Museum is a museum Core deliciosus, where the soul from the scientific point of view, to the universal audience deliciosus knowledge, deliciosus is rich in value, is a gift of nature The treasure of humanity, from a scientific point of view, the adoption of specimens, models, three-dimensional landscape, pictures, videos, interactive multi-media technology to display the way to create a lively, and the pro-intellectual context, so that viewers feel lovely natural life, Alas .

中国菇菌博物馆对于展示中国菇菌行业的发展历史、弘扬中国悠久的菇菌文化具有重要的现实意义 1、菇菌科学馆-----菇菌科学馆是整个菇菌博物馆的核心、灵魂所在，从科普的角度，向观众普及菇菌的知识，菇菌有着丰富的利用价值，是大自然赐予人类的瑰宝，从科学的角度出发，通过标本、模型、立体造景、图片、影片、多媒体技术等互动展示手法，营造了一个生动、亲和的知性情境，让观众感受自然生命可爱、可叹之处。

The central government came to a new high level of recognizing the science and technology after 1978, thus, a new policy of clerisy was established and a good political atmosphere, which benefits on popular science development, was formed. Besides, while the government's essential mission was transferred to economical construction, the popular science was accelerated by factors as economical development, social desire and economical treatment. Then, the prosperity of education set a good foundation for the development of popular science. Fourthly, the increase in the number of boffins and a fast advance on science and technology contributed to popular science's development intellectively. All these elements above caused the 2nd fastigium. However, during the last 1980s and early 1990s, confusion occurred to man's sense of worth in the period of economy transformation, which made popular science come to a downturn. As a result, the 2nd fastigium declined.

第四章对第二次科普高峰进行了分析。1978年以后，党中央对科学技术的认识达到了前所未有的程度，确立了新的知识分子政策，形成有利于科普发展的良好政治氛围；国家工作重心转移到经济建设上来，经济发展、社会需求和经济待遇等因素促进了科普的发展；文化教育事业的兴旺发达为科普的发展奠定了良好的基础；科技工作者队伍的壮大，科学技术的迅速发展，提供了科普发展的智力支持，这些综合因素促成了第二次科普高峰的到来。80年代末期到90年代初，由于在经济转型期出现了暂时的价值观混乱，科普工作陷入低迷，科普高峰消退。

Ph.D. study in Applied Biological Science, Applied Economics, Biomedical Science, Didactics , History, Law, Linguistics and Literature, Medical Science, Political and Social Science, Pharmaceutical Science, Philosophy, Science, Veterinary Science.

是关于应用生物科学，应用经济学，生物医学，教授法，历史，法律，语言学和文学，医学科学，政治和社会科学，药物科学，哲学，自然科学，兽医学的方式。

In June 1999, the State Council of China officially approved the "Note of Request to Expedite the Building of Zhongguancun Science Park for the Purpose of Implementing the Strategy of Rejuvenating the Country through Science and Education" by the Beijing Municipal Government and the Ministry of Science and Technology and instructed the Beijing Municipal Government and the Ministry of Science and Technology to speed up the construction process of Zhongguancun Science Park in order to build it into a comprehensive reform trial base for implementing the strategy of rejuvenating the country through science and education and the two essential changes, a model base of international technical innovation with competitiveness, an incubator and radiating center for its scientific and technological achievements with its footing in the capital city of Beijing but facing the whole country and a base for training innovators and a first-class science park in the world.

1999年6月，国务院正式批准&注意的请求，以加快建设中关村科技园区为实施战略科教兴国和教育&由北京市政府和科技部和技术，并指示北京市政府和科技部，加快建设进程，中关村科技园区，以建设成一个全面的改革试验基地战略的实施科教兴国和教育，两个重要的变化，示范基地，技术创新与国际竞争力，孵化器和辐射中心，它的科学和技术成就的基础上，在首都北京，但面对全国的基地和培训的创新和一流的科学工业园区在世界上。

Today, this island is the Victoria and Albert Museum, Science and Geological Museum, Imperial College of Science and Technology, the Royal Academy of Music and the Arts and the World Expo in 1862 after the establishment of the British Museum of Natural History Secondly, the establishment of Arts and Sciences Awards Fund.

今天，这块土地上有维多利亚和阿尔伯特博物馆、科学和地质博物馆、帝国科学和技术学院、皇家艺术和音乐学院及1862年世博会后建立的大英自然历史博物馆）第二，设立科学艺术奖励基金。

Although translator has turned from being a crystal ball by which the original culture can unrestrainedly penetrate to another crystal ball by which the target culture can freely traverse, the translator's personal embodiment, in the process of cognitive act, are still absent in translation studies. Translators are still subjects without body or simply disembodied subjects.

译者虽然由原语文化可以自由穿透的玻璃球变成了译语文化可以自由穿越的玻璃球，但译者认知过程中的个体体验在翻译研究中依然缺席，译者依然仅仅是一个没有躯体体验的主体。

Chillingly, he claimed our technology is 'not nearly as sophisticated' as theirs and "had they been hostile", he warned 'we would be been gone by now'.

令人毛骨悚然的，他声称我们的技术是'并不那么复杂，像他们一样，和"如果他们敌意"，他警告说，'我们将现在已经过去了。