当代

He has participate in many large exhibitions of academic standing, including the research project "The Migration of Asian Contemporary Art and Geo-politics" 2002-2004,"Image Existence" the 5th Shanghai Biennial 2004,"In the Deep of Reality: Contemporary Chinese Art" and "Asian Time: New Media Art" in 2005,"Micrology: Chinese Contemporary Art" and "The Yellow Box: Contemporary Art and Architecture in a Chinese Space".

自2002年起，他参与策划了许多大型学术性展览，包括2002年至2004年的"亚洲当代艺术的迁徙与地缘政治"系列研究计划、2004年的"影像生存：第五届上海双年展"、2005年的"现实深处：中国当代艺术邀请展"和"亚洲时间：新媒体艺术展"、2006年的"显微学：中国当代艺术展"以及"黄盒子：中国空间里的当代艺术与建筑"学术邀请展等。

He has participate in many large exhibitions of academic standing, including the research project "The Migration of Asian Contemporary Art and Geo-politics" 2002-2004,"Techniques of the Visible" the 5th Shanghai Biennial 2004,"In the Depth of Reality: Contemporary Chinese Art" and "Asian Time: New Media Art" in 2005,"Micrology: Micro-politics in Chinese Contemporary Art" and "The Yellow Box: Contemporary Art and Architecture in a Chinese Space".

自2002年起，他参与策划了许多大型学术性展览，包括2002年至2004年的"亚洲当代艺术的迁徙与地缘政治"系列研究计划、2004年的"影像生存：第五届上海双年展"、2005年的"现实深处：中国当代艺术邀请展"和"亚洲时间：新媒体艺术展"、2006年的"显微学：中国当代艺术展"以及"黄盒子：中国空间里的当代艺术与建筑"学术邀请展等。

Selected Exhibitions : 2008 /"The Third Guangzhou Triennial : Farewell to Post-Colonialism", Guangdong Museum of Art, Guangzhou,China / 2007 /"Alchemy of Shadow : 3rd Lianzhou International Photo Festival", Lianzhou, China / 2006 /"A Yellow Box In Qingpu: Contemporary Art and Architecture in a Chinese Space", Shanghai /"Micrology, the Politics of Realism Chinese Contemporary Art Exhibition, Macao / 2005 /"In the Depth of Reality : China Contemporary Art Exhibition", Hangzhou /"Gift, Contemporary Art Invited Exhibition", Hangzhou / 2004 /"Formatting: New Media Art Project", Hangzhou /"Labyrinth : the Second Chinese New Media Art Festival", Hangzhou / 2003 /"Experimental Art Project in White Pagoda Mountain", Hangzhou /"Links: Contemporary Art Exhibition", Hangzhou /"Exhibition of Chinese Young Artists, Hangzhou

郑端祥，1977年生於中国福建，现任教於中国美术学院造型基础学部。作品《时间的横截面III》於2006年展出於澳门艺术馆"显微境。观：中国当代艺术展"，同年影像装置《时间的横截面之夜游记》展出於"黄盒子在青浦"，2007年於连州国际摄影展展出《失忆系列》和《工厂系列》。重要展览有： 2008年/雕塑中国，香港汉雅轩/广州三年展：与后殖民说再见，中国广东美术馆、中国第三届媒体艺术节：四季，中国杭州，2007年/中国当代艺术展：在瓦伦西雅55天，西班牙瓦伦西雅、首届今日文献展：能量－精神。身体。物质，今日美术馆，中国北京、夜间摄影，香港汉雅轩，2006年/。盒子，中国上海、显微境。观：中国当代艺术展，中国澳门当代美术馆

As collector of formerly Western contemporary art he now has formed the most substantial collection of contemporary Chinese art in the world. He also established 1997 the Chinese Contemporary Art Award, an art award for Chinese contemporary artists living in China. He is a member of the International Council of New York MOMA and International Advisory Councils of Tate Gallery, London, and documenta, Kassel.

作为收藏家和西方当代艺术的先驱，他是世界上到目前为止收藏中国当代艺术最丰富的收藏家。1997年他建立了中国当代艺术奖，专为生活在中国的当代艺术家设立的，同时他也是纽约现代艺术博物馆国际协会、伦敦Tate画廊国际咨询协会和卡塞尔文献展的一员。

SHADOWS PHOTOGRAPHY ART CENTER, 9 THEATER, 318, ASPACE, ANI GALLERY, ARARIO GALLERY, ART WALK, BEIJING ART SEASONS, CHEN LING HUI CONTEMPORARY SPACE, CHINESE CONTEMPORARY, CONTINUA GALLERY, DOART BEIJING -GALLERY HYUNDAI COMPANY, EAST PIONEER THEATER, GREEN TEA HOUSE, HOT SUN ART SPACE GALLERY, MARELLA GALLERY, MUST BE CONTEMPORARY CENTER, OFFICINA, PARIS-BEIJING PHOTO GALLERY, PLATFORM CHINA, RED GATE GALLERY, RED T SPACE, SANCTUARY GALLERY, SOUTH GATE SPACE, SPACE DA, TANG GALLERY, THEATRE IN MOTION, XINDONG CHENG SPACE FOR CONTEMPORARY ART, YAN CLUB GALLERY

合作伙伴 PARTNERS：三影堂摄影中心，9个剧场，318， A 空间，安妮画廊，阿拉里奥北京艺术空间，北京漫步，季节画廊，陈绫蕙当代空间，中国当代，常青画廊，都亚特北京-韩国现代画廊，东方先锋剧场，紫云轩茶社，炎午空间，玛蕊乐画廊，玛斯德比当代艺术中心，意中艺术工作室，巴黎-北京摄影空间，站台中国，红门画廊，红T画廊，圣所空间，南门空间，画廊大仓库，唐人画廊，动舞台，程昕东国际当代艺术空间，仁俱乐部画廊

Much as Gao's analysis is used to critique the problems arising from the West's selection of contemporary Chinese art, the application of this realist reflectionist approach on contemporary art is also remarkably popular among critics in China today.

高名潞的这段论述虽然是用来批评西方在选择中国艺术时出现的问题，但用这种现实主义反映论来论证当代艺术的方法在中国当下的评论界也随处可见，他们把前卫艺术的介入社会，理解成反映社会，然后把反映社会现实的作品当作当代艺术，所谓的现在是数码时代，艺术要反映数码，现在是卡通时代，艺术要反映卡通，还有就是高名潞所批评的，只要在艺术中反映了一点中国的变化就是当代艺术，而其实它只是现实主义反映论的一种表现，鲁虹等人的文章都属于这一类，我称为&改革开放现实主义艺术&模式，我们看到今天的中国艺术和评论都是在这种模式中制造当代艺术的假象。

Four aspects are studied in this paper: the study of non-linear syllable theory of the analysis ofdengyunxue of the syllabic structure of Chinese character, the study of the distinctive feature theory of the four types of the articulation of initials, the study of the markedness theory of the devoicing of the fully voiced initials and the study of the feature geometry theory of the correlates between the devoicing of the fully voiced initials and tonal change. Through our studies, conclusions can be drawn as follows:(1) Contemporary phonological theories can be used to elucidate the principle of Chinese dengyunxue;(2) Contemporary phonological theories can be used to explain the historical phonetic change of Chinese;(3) Different theories and methods of contemporary phonology should be applied to deal with different problems of Chinese phonology;(4) The application of contemporary phonological theories to the study of the historical phonetic change of Chinese is helpful to test and verify the universalizability of these theoretical hypotheses

通过对等韵字音结构分析的非线性音节理论研究、声纽四等的区别特征理论研究、全浊声母清化的标记理论研究和浊音清化与声调演变相互关系的特征架构理论研究等四项初探，揭示了：（1）当代音系理论可以阐明汉语等韵学学理；（2）当代音系理论可以解释汉语历史音变现象；（3）不同的汉语音韵问题，应该用不同的当代音系理论方法来研究；（4）当代音系理论在汉语历史音变研究中的运用，有助于验证其理论假设的普适性

11 Guest Professorship in ENSBA, Paris; 11 Shanghai Spirit — Shanghai Biennale, Shanghai Art Museum, Shanghai, China; 7 Sui Jianguo and Zhan Wang, Galerie Loft, Paris, France; 6 Sharing Exoticisms — Contemporary Art Lyon Biennale, Lyon, France; 5 Chinese Contemporary Sculpture Invitational Exhibition, Qingdao Sculpture Museum, Qingdao, China

2000年&中国雕塑邀请展&；&中国当代雕塑展&；&东方广场中国雕塑精品展&；&共享异国情调——里昂当代艺术双年展&；&隋建国、展望作品展&；&第三届上海双年展&； 11月在法国巴黎高等美术院作为期三个月的客座教授； 11月举办《上海·上海——第三届上海双年展》； 9月举办（人文山水----景观艺术展）桂林中国上海美术馆上海·中国； 7月举办《隋建国、展望作品展》 LOFT 画廊巴黎·法国； 6月举办《共享异国情调——里昂当代艺术双年展》里昂·法国； 6月举办《东方广场——中国雕塑精品展》北京·中国； 5月举办《中国当代雕塑邀请展》青岛雕塑艺术馆青岛·中国； 3月举办《中国雕塑邀请展》上海美术馆上海·中国。

Wrights class theory has great significance in practice to our understanding of the new changes in class relations of contemporary capitalism and the development of Marxism according to the new changes: Firstly, Wright'theory of the new changes in contemporary capitalist class relations will enable our understanding of this class structure to be founded on more complete analytical data, and make us have a more accurate knowledge and understanding about the non-applicability of Marx's prediction in his class theory of polarized class relations in capitalism.

赖特的阶级理论对于我们认识关于当代资本主义社会阶级关系新变化并且根据这种新变化来发展马克思主义具有很大的现实意义：首先，赖特的当代资本主义社会阶级关系新变化的理论，使我们对当代资本主义的阶级结构的认识能够建立在比较完整的数据分析基础之上，也使我们对马克思所预言的资本主义阶级关系两极分化的阶级理论在当代的不适用性有了更加准确的认识和了解。

Against the background of art history development and international contemporary art, we discuss Chinese Contemporary Printmaking academically and experimentally from two dimensions of time and space.

在综述中国当代版画的现状，并将中国当代版画置于艺术发展史和国际当代艺术的大背景下，从时间和空间两个向度对中国当代版画进行了学术性和实验性的探讨。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。