当代

From meditating the design status of our country'S large-scale square and neatening,analyzing and summarizing large amount of examples and investigated data,this paper introspects on urban squares in contemporary China mainly from three aspects.Firstly,it analyses the develop process and the present state;secondlv.it pays attention to the questions of urban squares as public space;thirdly,it gives a preliminary discussion on its premise and trends in the future.

本文即从反思我国当代城市广场的设计现状出发，通过对大量实例、调研资料的整理、剖析与理论总结，从三个方面对我国当代城市广场建设进行了深入思考：一是分析当代城市广场发展脉络及当下状况；二是在这样的脉络下探讨近年来中国这些新兴的广场作为公共空间所呈现出的问题；三是试图提出突破困境的可能，进一步探讨未来城市广场的发展前提与趋势。

Thus, it is crucial for people working on art criticism and research about post-60s should consider more of its historic factors and real situation.

如果说当代艺术的文化逻辑是否思性的位移，当代艺术的当代性则是后现代精神的表征。

The contemporary Chinese art scene is thus more diversified and refreshing.

这种拥有东方文化根性的当代艺术探索为中国当代视觉文化的发展提供了有成效的案例，也呈现出当代艺术景观的勃勃生机。

In addition, he is a research fellow of Shenzhen Museum and Xi'an Fine Art Institute , advisor for www.artron.net , guest writer of Taiwan magazine Diancang , and columnist for the art column of Readers' Digest .

碰撞——中国当代艺术实验的案例》策展人、《当代美术家》杂志执行主编、坦克库·重庆当代艺术中心总策划、雅昌艺术网艺术顾问、大众杂志《读者》的艺术栏目主持。

It is common knowledge and rather obvious that contemporary art and pop culture have been influencing and mixing up with each other with ever stronger momentum. Generally speaking, such phenomenon is caused by the following factors: first of all, pop culture is an unavoidable existence in the field of the contemporary social culture, especially in urban culture. Elements of pop culture are always employed by artists who attempt to present the modern social life in a critical, ironical or neutral way. But their standpoint and intention of choosing the visual resources are different from that of the mass media and the public.

众所周知，在当代社会中艺术与大众文化的相互渗透、混杂的现象已经明显加剧，造成这种现象的原因大致有这么几点：首先，大众文化是当代社会文化领域，特别是都市文化领域中一个不能回避的问题，不管艺术家是处于批判、反讽或者是不动声色的呈现当代社会生活的时候都涉及到运用大众文化形态的问题，只不过艺术家选择这些视觉资源的时候其出发点及立场与大众传媒和社会公众不同。

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。

The Neo-Confucianism of Taiwan and Hongkong\'s aesthetic study combines the artistic spirit of Confucianism and Taoism, introjects the aesthetics of China and the west, and excavates the modern merits of traditional aesthetic, which are important problems of the modern Chinese aesthetics. Therefore, it is very helpful to the modern Chinese aesthetic and the comparative poetics that we scan the Neo-Confucianism of Taiwan and Hongkong\'s problems again and pursue the evolution of these problems in a cross-cultural and cross-subject view.

由于台港新儒家的美学研究兼有会通儒道艺术精神、融合中西美学思想，及发掘传统美学之当代价值等的层面，这些无一不是中国当代美学的重大课题，因此带着问题意识用跨文化、跨学科的视野重新审视他们探讨过的问题并追踪问题的延伸，将对中国当代美学的建构和比较诗学的研究都有着重要的启发意义。

The followings on dragon boat race are researched: social basis of its produce; developmental situation; its relation with social economic development, its modernization. Some are analyzed: the produce of traditional dragon boat race and modern ones, what this race brings for various economic culture phenomenon, the relation between this sport and modern social development.

文章采用文献法、调查法等多种研究方法，对中国传统龙舟竞渡产生的社会基础、当代中国龙舟运动发展现状、当代中国龙舟运动与社会经济发展的关系、中国龙舟运动现代化等问题进行研究；分析了传统龙舟竞渡与当代龙舟现象产生，以及由中国龙舟运动所带来的种种社会经济文化现象，进一步探讨了具有民族体育代表性的龙舟运动与现代社会发展的关系。

Part four offers a systematic exposition and analysis of the current subjects and fields of the philosophy of culture, and involves the following four basic questions: the cultural choices in the social development today; the common evolution of man and nature; the forming of man's up—to—date aesthetic judgment; and man's overall development relative to the age.

第四部分是对文化哲学当代主题和视野的系统展开，主要关涉四个基本问题，即当代社会发展的文化选择问题、人与自然的共同进化问题、当代人类审美文化的建构问题以及面向时代人的全面发展问题等。

Smithson and other artists associated with the movement, such as Walter De Maria, Alice Aycock, Michael Heizer, and James Turrell were aesthetically influenced by Minimalism but sought to bring art out of the gallery system and into the outside environment.

虽然对於当代艺术实践的历史性定论还有待建立，但是当代艺术批评家和历史学家已经逐渐形成一股共识，将某些艺术家及艺术创作视为后现代艺术及当代艺术发展上的重要基础。

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。