当代

Japanese contemporary art has gradually taken on an academic identity since Murakami Takashi's concept of "Superflat" and renowned curator Matsui Midori's "Micropop" were raised. Although these two discourses are insufficient to cover all contemporary art in Japan today, they provide a research direction for over 60 percent of the market for those interested in observing and collecting Japanese contemporary art.

日本的当代艺术在村上隆提出Super Flat 及著名策展人Matsui Midori提出Micropop等概念之后，渐渐的形成了一个可被辨识的学术面貌，虽然这二种论述并无法涵盖今日日本当代艺术的全景，但是却也提供了有兴趣观察及收藏日本当代艺术市场的人们一个可覆盖6成以上的研究方向。

It is against purism, and stresses the artistic expression of significance and the artistic attention paid to contemporary social and living problems of human beings.

第二步则对应于当代意识，当代意识反纯粹性，强调艺术对意义的表达，强调艺术对当代人类社会问题和生存问题的关注。

And Soka Contemporary Space (will be launched on May 2007) will play as a gateway of China classical and contemporary art works with influence to crucial Art institutions in Asia.

2007年成立台北索卡当代空间，经营亚洲当代艺术，成为中国首家跨度中国经典和当代艺术作品，影响力涵盖亚洲的国际性艺术机构。

Soka contemporary space will hold contemporary photoghaph on 13 April ,2006 ,including two parts: American artist Ralphgibson of exhibition and china、korea contemporary photoghaph exhibition.

索卡当代空间将于2005年4月13 日举行当代摄影展，包括美国摄影家拉尔夫·吉布森个展和中韩当代摄影展两个部分。

People Literature led and standard the development direction of Chinese contemporary literature,influenced and witted its formation and development.

本文选择《人民文学》作为研究对象，以中国当代文学为背景，对《人民文学》创刊至今的发展历程进行整体观照和细致梳理，通过对《人民文学》与中国当代文学内在关系的深层探讨，以期从《人民文学》这一窗口探视中国当代文学的发展变迁。

Their conceptuality is manifest in the temporal and spatial criss-crossing and overlapping images. For instance, in his work, life means mundane everyday life while human characters embody today's sense of reality. Counter-intuitively, this sense of 'present' is expressed by ancient techniques and stylistic expressions. Moreover, the stylistic formulation of human characters in his works derives from the fresco painting of Yongle Temple in Shanxi. This is particularly manifest in the graphic forms of faces and hands. Meanwhile by utilizing various surface treatments, the artist has also managed to create a variegated effect of textures that resembles ancient fresco painting.

当代性在于他对于现实生活的关注、表现和当代艺术方法论意义上的个人语汇的形成；而观念性则体现在对于时空切换瞬间的交叉和影像的重叠，例如，生活是当代的世俗生活，人物体现了今天的现实感觉；但表现方法却是一千年前的，人物的造型手法是山西永乐宫壁画，脸和手的造型尤其接近；更为特殊的是，通过各种手法的肌理处理，艺术家甚至将画面制造成古代壁画的斑驳效果。

This is not only because we all started our art career from traditional Chinese art. We find it regrettable that traditional art forms are in their muteness in contemporary culture. In our respective artistic practice, we have formed a common understanding about contemporaneity of Chinese Painting: Chinese Painting needs to be explored and reformed from the legacy of tradition; Chinese Painting needs to obtain its contemporary cultural significance.

这不但是因为我们都是从学习传统的中国绘画艺术开始我们的艺术之旅的，更因为我们对传统艺术方式在当代文化中无所作为的失语状态有切肤之感，在各自的艺术实践中对中国艺术的当代性有一个共同认知：中国艺术需要从传统中发掘和更新、中国艺术要努力具有当代文化的意义。

In "Dislocated Modernity: A Retrospect on Narratives in Contemporary Chinese Art," Gao Minglu pointed out that contemporary Chinese art is characterized by the prevalence of realist reflectionist theory, including works that have made their way into the Western exhibition circuit. Specifically citing photographic works to illustrate this point, he writes that Western interest in Chinese photography is explained by their use of it to observe concrete changes affecting China. As such, in this article is an excerpt of Gao Minglu's brilliant analysis

高名潞在《现代性错位：对中国当代艺术叙事的反思》一文中提示了中国当代艺术中的一个事实，即这种艺术中普遍存在着现实主义反映论的特征，就是进入西方展览系统的中国当代艺术也主要是现实主义反映论的作品，他还特地举了图片，来说明这个问题，即西方对中国的图片关注是西方人通过这些图片来看中国现实变化，所以在这篇文章中，高名潞有一段非常精彩的论述

On the other hand, he has offered a re-interpretation of the relationship between traditionality and contemporiety, while dissolving the conflict brought by employing traditional painting vocabulary to express the sentiments of contemporary urban life.

当然，何剑对传统和当代有自己的认识，传统可以成为当代艺术的积极养料，而当代也可以是传统的延伸和变异。

ABSTRACT According to the background of globalization and the resistance to this trend, this paper probes into the question how to grasp the essentials of the architectural regionality by comparing with"vernacularity"and "locality"as well as by criticizing the misunderstanding and misuse of regional architecture. Secondly, this paper analyses its contemporary value with comparing current architectural thoughts, point out the undisputable validity of regional architecture as a strategy to resist the homogenization of the world in the sense of"technical ethics"and "existential feeling".

摘 要 首先从由全球化而来的文化趋同及其抗争这一当代背景出发，在与&乡土性&和&地点性&的正面比较以及在对于&地区性&的误解和误用的反面论述中，探讨在今天的现实环境里如何把握建筑的&地区性&；接着在与当代建筑思潮的对比中，揭示其当代价值，并据此认为在对单一普遍世界模式抵抗的途径上，地区性建筑在&技术伦理&和&存在心理&上有其不可替代的合理性。

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。