当代

Documents of 2007 China Contemporary Art Documentary Exhibition》,《Prism——Seven New Artists Joint Exhibition of China Academy of Art》,《Form·Spirit》,《Art Life》,《The First China Modern Academies Watercolor Art Exhibition》,《Zhejiang Tide In The Moonlight- 2005 Zhejiang Oil Painting Exhibition》,《0 Distance》,《Foundation Art Education Models of Ten Fine Arts Academies in China》,《Form Experience》,《Academy Journey——2007 Graduation Exhibition of Oil Painting Department, China Academy of Art》,《The Art Work Collectanea of the Foundation Department, China academy of art》,《The Art Work Collectanea of China Academy of Art》,《Form and Structure》,《Paradigm》,《Super Structuralism》, and 《Starting From 0》, etc..

中国当代艺术文献展文献》《多棱镜——中国美院新锐油画七人展》《形。意》《艺术界》《首届中国当代学院水彩艺术展》《月印浙潮2005浙江油画大展》《零距离》《全国十所高等美术院校造型基础教学范例》《体验形态》《学院旅途2007中国美术学院油画系毕业作品集》《中国美术学院造型基础部作品精选》《中国美术学院留校作品选》《论形体与结构》《完全范本》《超级结构主义》《从零开始》等。

With this the ideology of communitarianism and individualism will be more influential on world modern political practice, not only in the priority of subject issue in modern society but also in the future of political practice.

由此产生的共同体主义与个人主义的意识形态主张，对于当代世界政治生活的影响，绝对不止于面对当代社会应当优先处理的主体问题的先后秩序，而对于政治生活的未来构成，必将产生结构性的影响。

Through the classification and analysis of contemporary oil paintings with an tendency of complanation, this paper explains a phenomenon in Chinese contemporary oil painting which cannot be ignored, and demonstrates the reality of complanation that it is an approach to reflect social life.

本篇论文通过对当代平面化倾向油画作品的梳理和分析，发掘和阐释了当代中国油画创作中的一个不可忽略的艺术现象，并论述了平面化作品也是反映社会生活真实性的途径之一。

For some ten years, the tendency to photo-based painting bad continued. However, most of the artworks were nothing but a conflation of amusement and inertia, stagnating the development of contemporary art.

此后十几年，中国当代艺术也出现了用照片等影像资源来创作的趋势，但是多数作品不过是一种艺术趣味和惰性结合的产物，对当代艺术的发展没什么推动。

This dissertation consists of the following eight chapters: the first chapter is the guiding part of the thesis, which introduces the study background of this dissertation, and expounds the theoretical and practical significance of HeHe Management, writing framework and research method; the second chapter is the literature summarizing part, which expounds some important concepts related to HeHe Management including"ren wei"(self-cultivation),"wei ren","ren wei wei ren"(considerateness-oriented) and"HeHe", and summarizes the related literature; the third chapter systematically constructs the theoretical foundation of HeHe Management, and explores the support of HeHe Mangement in terms of philosophy, culturology and management; the fourth chapter analyses the relation among"ren wei"(self-cultivation),"ji shen he he" and self-management, and expounds the functional mechanism in psychology, main content and realizing approaches of self -management; the fifth chapter analyses the relation among"wei ren","qun ji he he" and"guanxi"management, and expounds the functional mechanism, main content and realizing approaches of"guanxi"management; the sixth chapter analyses the inherent relation among"ren wei wei ren"(considerateness-oriented),"zu zhi he he" and HeHe Management, expounds the theory of HeHe Management and its mode under the perspective of"ren wei wei ren"(considerateness -oriented) of Eastern Management, and discusses the value viewpoint of HeHe and the construction of corporation HeHe culture; the seventh chapter expounds the applying target, applying means and applying space of HeHe Management, and explores the practices of HeHe Management in corporational organizations by the way of case study from multi-layers and multi-angles; the eighth chapter expounds the new development of contemporary managerial practices and theories, explores the new tendency of contemporary management development, i.e.

本文共分八章：第一章是论文的导论部分，介绍本文的研究背景，阐述和合管理的理论与实践意义、写作框架和研究方法；第二章是文献综述部分，阐述包括"人为"、"为人"、"人为为人"与"和合"在内的与和合管理有关的重要概念，对相关文献进行综述；第三章系统构建和合管理的理论基础，探寻和合管理在哲学、文化学、管理学方面的支撑点；第四章分析"人为"、"己身和合"与自我管理的关系，阐述自我管理在心理学上的运行机制、主要内容及其实现途径；第五章分析"为人"、"群己和合"与关系管理的关系，阐述关系管理的运行机理、主要内容及其实现；第六章分析"人为为人"、"组织和合"与"和合管理"的内在关系，阐述东方管理"人为"观下的和合管理理论及其模式，探讨和合价值观及企业和合文化建设；第七章阐述和合管理的应用目标、应用方式及应用空间，通过案例研究的方式多层面、多角度探讨和合管理在企业组织中的实践；第八章阐述当代管理实践与管理理论的新发展，探讨当代管理学理论发展的新趋势——东西方管理的融合与发展，认为和合管理是管理理论发展到哲学阶段的产物，是企业管理的新发展。

Therefore, we should make great efforts to construct contemporary form of Marxist philosophy in cooperating to its basic values, spirit of the times, modern achievements and Chinese questions.

因此，我们应在马克思哲学基本价值、时代精神、当代成果、中国问题和中国表述的结合中努力建构马克思主义哲学的当代形态。

To me, the significance, and the most challenging part, of Feng Bin and his postgraduates' researches rests with their attempts to discuss the contemporaneity of Chinese Painting within the law of development of Chinese Painting, and to expand its boundaries and to challenge its bottom lines.

在我看来，冯斌及其研究生对中国画当代性的研究，其重要的意义，同时也是最富挑战性的地方在于，他们想在中国画自身发展的逻辑关系中，来探讨中国画的当代性，并推进其发展，扩展其边界，挑战其底线。

That is to say, if their explorations and researches were confined to the contemporaneity of painting art or visual art, the questions they provoke would not have been so significant and challenging, and at the same time dangerous.

这也就是说，如果冯斌及其研究生的艺术，仅仅只是对绘画艺术，或视觉艺术的当代性进行探索和研究的话，那么，它的挑战性，当然也包括危险性也就大大的降低了，因为问题的重要性、危险性和挑战性，正是来自于他们要在中国画的内部，推进中国画的发展，探索中国画的当代性的问题。

Wei Guangqing's Made in China and Golden Lotus successfully represents the exploration of Chinese modern art's "contemporaneousness" and "indigenousness."

红墙—家门和顺》以来的一系列作品的关键，也是探索中国当代艺术之"当代性"与"本土性"生成的路径。

Su Wong-Shen's artworks reflect contemporary social phenomenon indirectly. He uses dog's figures to mock human's desire and violence in contemporary society. Dog's characteristic of attack and tear demonstrate human's rude and aggressive behavior. Dogs and animals represent greed, contemptibility, no benevolence and righteousness, which can be used to mock desire hidden behind human.

苏旺伸作品内容是以一种曲折间接的方式去反映当代社会现象，他以犬形图像讽刺当代社会中人们的诸多欲望、暴力等，以犬具有攻击、撕咬的特质来意味人们的粗暴、攻击的行为举止，并以犬、兽於文化中贪婪、卑劣、无仁义的意涵，讽刺人表面下所潜藏的欲望。

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。