当代

Must Be contemporary art center is by digging and coordinating contemporary art civilian video as the most important project in 20 years recently. It set up documentary in 2005, and will hold on experimental drama 、 Avant-courier poetry 、 show the geography of Beijing contemporary art 、 Chinese contemporary construction BBS 、 contemporary dance etc for one year, these activities present the first theme of literature exhibition, and in all corners of the country's various sorts of multiplex no mainstream group and strength of folk art.

更重要的是玛斯德比当代艺术中心还以挖掘和整理中国近 20 年当代艺术的平民化影像为重要项目，在 2005 年设立了文献展，将用 1 年的时间以举办实验戏剧、先锋诗歌、展示北京当代艺术地理、中国现代建筑论坛、现代舞等活动，来呈现第一届文献展的主题，'江湖'中的中国各种多元化的非主流的民间艺术团体与力量。

As one of the most important contemporary European thinkers, an topping cultural theologian and a classic, Hans Urs von Balthasar (1905-1988) characterized his thought by the deep concern about the possibility of the reconciliation between Christian theology and current western culture and the effort of renewing the tradition of western classical thought, especially the one of biblical and patristic theology, in the context of the contemporary society.

汉斯·厄斯·冯·巴尔塔萨（Hans Urs von Balthasar，1905-1988）是当代欧洲著名的思想家、文化神学家、古典学家，其思想以寻求基督教信仰及其神学与当代西方文化之间的契合为主要关切，注重在当代文化语境中重新阐释、发扬西方古典文化传统、尤其是基督教圣经神学与中世纪教父神学传统，因而在古典主义的气质中透露出深切的时代关怀，在神学的话语中蕴含着丰富的文化意义。

The third generation has a different experience and purview, but Chinese humanistic values and the sources of its civilization are the roots of their art. They have created new relationships, connections and links between themselves and international contemporary art. They preview and show the directions and trends showing how Chinese contemporary art can be integrated with international contemporary art.

第三代艺术家的经验与视域各不相同，中国的人文价值及文化溯源却是他们的创作根本，同时，他们在技术、观念、思维上又能打通与国际当代艺术的某种关系、关联和关节，他们预演与展示着中国当代艺术与国际当代艺术接驳的走势与趋向。

We can't be with easy self-sufficient and self-confident in the judgment mode of "the more is of a race, the more is of a world". And we will never consider it as high as to climb when get into the exchanges and have a conversation in the modern world. National art has to be with open and contemporary character, be able to face the grand humanities background and appreciate the contemporary aesthetic standard. Meanwhile, it can dig the contemporary significance of the race and region life. The art can represent the contemporary Chinese culture, as well as that of the world.

这样，既不可以在"越是民族的就越是世界的"的判断模式中轻易地自足自信，也决不应该将进入现代世界的交流、对话视为高不可攀之事，而是要求我们的民族艺术必须应具备当代性和开放性，亦即能够面对宏阔的人文背景，理解当代人的审美标准，对于民族性、地域性生活作当代意义的开掘，并能够站在当代中国文化乃至世界的高度去表现。

The Third Chengdu Biennial attempts to present objectively the multifaceted process of the development of Chinese contemporary art, to redefine the contemporaneity of this segment of the arts, and to explore the potential inherent in breaking boundaries, so as to increase people's understanding of the interaction between Chinese culture's unique aspects and internationalism and to encourage dialogue between the art and culture of China and that elsewhere.

本次双年展就是试图客观地展示中国当代艺术发展历程中的多元格局中的一个重要部分，重新定义中国当代艺术。在保持自身的创造性的同时，探索突破困境和局限的各种可能性，启动中国当代艺术全面发展的新局面，进而推动中国的文化与艺术同其他文化艺术之间更多的对话和交流。

These words—"change,""Chinese situation,""variation,"and "paradigm," did not only describe the contemporary artist, Wei Guangqing, his working method, and typical appearance of artistic personality, but also pointed to another theoretical question worthy of consideration—Chinese modern art's contemporaneousness and indigenousness. The word "paradigm" also pointed to this specific context.

依次出现的关键词"改变"、"中国情境"、"变异"及"范例"，不仅钩勒了作为当代艺术家的魏光庆其作品方式与艺术个性的特殊面貌，更凸显了一个值得深入思考的理论问题—中国当代艺术的"当代性"与"本土性"问题，"范例"一词亦当就此而言。

According to the present situation of China, it is an essential choice to bring the strategy of sustainable development into effect, which can assure China walk up to a sustainable future.

当代中国的基本国情表明，实施可持续发展战略是当代中国全面发展的必然选择，确保当代中国走向可持续的未来。

Mao Zedong "nationality's science populace' s culture" has indic...

毛泽东"民族的科学的大众的文化"指明了当代中国先进文化建设的基本方向；邓小平"三个面向"的文化发展战略为当代中国先进文化建设提供了开放性的思路；江泽民中国特色社会主义的文化观是对毛泽东、邓小平文化观的辩证整合和创新发展，为当代中国化的马克思主义增添了新内容。

Based on the analysis of the inditement of Chinese novels and the current context of the social conditions the cultural condition and the spirit condition of descriptive subjects, in the modernity and cosmopolitan view, this paper researched the course of how \'tribulation\', the center image that was ancient but full of modern taste, was established in the heart and text of writers.

论文把"文革"以后的当代中国小说创作作为分析对象，在现代性和全球化的视野中，以当代中国社会状况、文化状况和文学叙述主体的精神状况为背景，考察"苦难"这一既古老而又充满当代意味的中心意象在作家内心和文本中建立起来的过程。

To insouciant; From the elegance of the 18th century contemporary glass coffee Table furniture contemporary glass coffee Table furniture - modern contemporary coffee table contemporary glass coffee Table furniture.

以漫不经心；从优雅的18世纪当代玻璃茶几当代家具玻璃茶几家具现当代咖啡桌|当代玻璃咖啡桌家具。

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。