摘要：《读者欣赏》:您是什么时候开始学习摄影的?或者说,从什么时候开始决定做一位摄影师?billyRood:我5年前才开始摄影,因为我之前是做导演和摄像,所以,在图片创意和模特引导方面都得心应手,没有专门学习。《读者欣赏》

摘要：以色列人的精明与能干是举世公认的,他们设计的枪械也是别具一格,除了享誊世界的乌齐冲锋枪,伽利尔步枪也有其独到之处,并受到众多国家的关注。由于以色列地处中东沙漠地带,恶劣的环境对武器要求很高,以色列大胆地将AK步枪的枪机、枪机框以及N16步枪的枪管融合设计到一起,不但顺应了小口径弹药的发展趋势,而且继承发扬了AK步枪结构简单、经久耐用的优势。该枪并非简单地仿制,还进行了很多独到的改进。

摘要：7.62×39mm中间型枪弹诞生后,苏联武器设计专家们开始设计各种使用该枪弹的武器,参加设计工作的都是苏联最优秀的轻武器设计师,如杰格佳廖夫、西蒙洛夫和PPs-43冲锋枪的设计者苏达列夫等,其中的RPD 7.62mm轻机枪在1944年设计完成,但当时为了满足苏军对现役武器数量上的需求,生产工作并没有马上开始,大规模的生产在1946年才开始,1953年装备部队。中国于1950年代早期按照苏联提供的技术和设备开始仿制苏式武器,最初仿制DPM机枪而生产的53式7.62mm轻机枪在装备部队一段时间后被认为体积质量过大、隐蔽性差、携带不方便,于是开始仿制RPD轻机枪,于1956仿制成功,命名为1956年式7.62mm轻机枪(简称56式轻机枪),这是我国仿制的第二代制式机枪。

摘要：68节，这对于斯塔鲁彼而言还远远不够。她的设计初衷是奔着70节去的。将这艘游艇命名为“世无止境”号也并不仅仅是007电影的跟风行为，更因为她在高速和舒适性之间取得了完美平衡。

摘要：M1911A1自动手枪是M1911自动手枪的改进型,M1911自动手枪是著名枪械大师勃朗宁设计的,于1911年定型装备美军。根据装备后军方反映的问题,斯普林菲尔德公司于1923年开始对M1911自动手枪进行改进,1926年正式定型为M1911A1自动手枪。该枪一直装备美军直到1985年被M9自动手枪换装。从美军近代武器装备史来看,几近百年的M1911A1自动手枪无疑是棵“常青树”,即使20世纪末从军队装备中退役。

摘要：莫洛特(Molot)武器公司是在俄罗斯轻武器领域具有悠久历史的大型企业,该公司曾生产军用PPSh41冲锋枪、RPK轻机枪以及诸多警用、民用枪。其研发的VEPR系列民用步枪以RPK轻机枪的设计与生产技术为基站,有7.62×39 mm、7.62×54 mm R、5.45×39 mm、.243退彻斯特、.223雷明顿、.308温彻斯特、.30-06斯普林菲尔德、6.5mm格伦德尔等口径型,这些步枪以VEPR品牌成功打入欧美等国家的警用、民用市场。

摘要：2005年10月12-15日．米兰国际家具展在俄罗斯莫斯科的世展会举办了一个名为“ISaloni WorldWide”的展览。在这13，230平方米的展厅里，180家意大利著名厂商随同“I Salori WorldWide”首发向俄罗斯及其周边各经济体展示了一个汇集面级设计师、建筑师和制造业者的卓越成就的产业成果和贸易机会．为俄罗斯带去了一个全新的展览会本展览着重突出商业和文化交流的特色，

摘要：作为一名雕塑家兼教授,我在过去的12年里陆陆续续在中国进行了一些教学和创作。在我看来,中国当下的艺术氛围与欧洲在20世纪之交时没有什么不同,那时,欧洲变革性地诞生了抽象艺术,改变了艺术、设计、教育,甚至人们的生活方式。诚然,我们如今所见的技术、速度和通信手段自那时起一直在持续更新,但从社会需求角度看,当下影响社会变革的因素与曾经的欧洲同样显著。

摘要：This paper aims to parallelize the theorizations of Pierre Macherey and Gilles ***,the author,according to Macherey,must have left something unsaid in his *** unsaid or the narrative rupture is responsible for the multiplicity of the voices in the text,enabling the text to *** all,Macherey argues that the unsaid or the narrative rupture emerges from how the author chooses to represent *** is,Macherey’s so-called unsaid or narrative rupture is actually what the author could have said;it is in fact a potentiality embedded in the *** the other hand,when postulating his virtual(ity)/actual(ity)couplet,Deleuze asserts that the virtual(ity)is actually a potentiality that can be *** be more precise,the virtual(ity)has its own reality,and once actualized,it will be transformed into something entirely new and ***,the dialogical space between Macherey and Deleuze is plain to see:Macherey’s so-called unsaid or narrative rupture is literally Deleuze’s so-called *** the unsaid is said,a virtuality is *** a potentiality is thus *** such a reading strategy,we readers are presented with an enactment of an alternative case scenario of the text,namely,how the text could have been made *** the end,an example of this reading strategy is provided:Macherey argues that Marquis de Sade’s desire-ruled society is more *** de Sade has left unsaid is the problematic relationship between desire and *** it is exactly the potentiality in his works.

摘要：This paper aims to examine how Macherey is dialogically engaged with post-Marxism in formulating his reading strategy. First Macherey thinks that the author must have left something unsaid in his text. The unsaid or the narrative rupture is responsible for the multiplicity of the voices in the text, enabling the text to exist. Most of all, Macherey argues that a text, embedded in History, is where the author represents ideology inaccurately. And it is from this inaccuracy where the narrative rupture emerges. At this point, Macherey is dialogically correlated with several major post-Marxists, such as Althusser, Eagleton, and Jameson. First, all three of them give their own definitions to ideology, and they all define the relationship between the text, ideology, and History in a similar fashion. For Althusser, ideology is men＇s imaginary relation to History and is insufficiently reflected in the text, which perfectly corresponds to Macherey＇s claim. For Eagleton, a text absorbs ideology and puts it into contradiction, establishing its relationship with History. As Eagleton himself has stated, his so-called ＂ideological contradiction＂ is tantamount to Macherey＇s so-called ＂narrative rupture.＂ In Jameson＇s opinion, ideology is designed to repress social contradictions, and a text, a symbolic act, is supposed to offer imaginary solutions to them. Above all, they end up as the latent meanings of a text. As for History, it is the inaccessible Real. In speaking of ＂the latent meanings of a text,＂ Jameson literally echoes Machery＇s said/unsaid model. Thus, we can confirm how Macherey is dialogically engaged with post-Marxism.