摘要：Setting to the task of a logical exposition of this article from Mao's Talks with regards to both historical context and philosophical content, a re-reading explores the "living historical document" as a theoretical possibility. The author indicates that the literary-artistic hypothesis of Talks consists in the political and military logic of "the revolutionary machine," offering a politically autonomous character to artistic formulation while simultaneously drawing up a mechanics for the general relati on ship between the recon struction of art and social relations in the country's future. Successively, in an attempt to engage with an elucidation of Mao's notion of "universal enlightenment" in the contemporary context, is an analytical emphasis on the implications of the material of Talks which embodies its cultural-political framework. This indicates that the revoluti on ary machine imposes a double function on the cultural-artistic worker as somebody who undertakes the responsibilities of both teacher and servant;who occupies the position of a "vanishing mediator" in the process of universal historical movement;and whose van guard characteristics and ultimate existence possess no independent value but instead depend on and draw from their relationship with the historical totality. The author holds that this perspective supports the advancement of our cognizance with regards to the civilizing functionality and ethical constructiveness of the Chinese Revolution in world-historical context.

摘要：The New political and Cultural District of Hefei City is a typical case of the newly and quickly constructed areas with a high starting point in China in recent years, in which traditional culture and the spirit of age integrate harmoniously. Pioneering Park is a theme park with the pioneering spirit as the subject, which successfully absorbs the artistic method of traditional natural garden layout and combines the modern landscape design concept with plant landscaping as the dominant part, utilizes the recreational environment integrating with national style and modern concept to represent the pioneering spirit of the age.

摘要：When Western left-wing movement suffered setbacks in reality,its practical experience transformed into a method of text ***,rare people would ask,how could political practice revive in discourse practice?This article aims to analyze its transition through the example of Fredric Jameson’s aesthetic application of Mao Zedong’s *** influence is manifested in three ways:First,the influence of theory—variation through the journey of the text;second,the influence of practice—transformation through the extraction of the context;third,the application of Maoism—to reserve the signifier but convert the *** Jameson’s view,Mao Zedong’s thoughts and practice became the focus of theorists and an idealized“otherness”.

摘要：《美术、神话与祭祀》英文原著由美籍华裔考古学家、人类学家张光直(Kwang-chih Chang,1931—2001)所著,于1983年由美国哈佛大学出版社(Harvard University Press)出版。2013年,生活·读书·新知三联书店推出了此书的最新中译本。此书由作者1981—1982年在哈佛大学(Harvard University)教授的主修课程的部分讲稿编写而成。作者结合考古学、文学及艺术方面的材料与观点.

摘要：Stephen Greenblatt who first introduces the term“New Historicism”,for these years has gradually entered the mainstream from the edge of the academic and has influenced many fields *** Greenblatt,the relationship between society and literature,politics and poetics,is the key to the study of Cultural ***,in the thesis of“Towards a Poetics of Culture”,he debated with Jameson,considering him asalien,and taking the contemporary China as an argument in order to demonstrate that the functional distinctions between politics and poetics should be ***,he deemed that these two must be adjusted in order to adapt to each *** we learn from the methodology of New Historicism that focuses on contexts and interpretation patterns,we will find that the divergence of their views can be eventually traced back to the theoretical,political and ideological differences.

摘要：本文介绍了贝尔法斯特市的公共艺术作品,并契合改革的主题,采用图文结合的形式,其中主要包括笔者个人作品、他人作品以及选自世界各地的带文字的城市风光图。自从1968年动乱爆发伊始,贝尔法斯特市的公共艺术主要呈现两种表现形式：一种是描述武装斗争的政治壁画,一种是宣扬和平、平稳的受政府赞助的公共空间艺术。随着1998年《贝尔法斯特协议》的签订,敌对情绪的消减,这两种艺术形式都有所变化。

摘要：杭州浙江美术馆ZHEJIANG ART MUSEUM2016.8.25—2016.10.25在中国举办的国际艺术展览似乎养成了一种“国际政治正确”惯性——尽管从当代西方展览中引进的某些立场,常常都只是中国红色传统中的某个“低幼版本”,但似乎却又不得不把它们高高举起,以获得国际人士们的认可,又或者表现出我们自身的国际化视野。正是这种无奈的局面,让2016年的杭州纤维三年展中的某些部分,

摘要：时间的沉重当我写下这几行字时——二零一六年的三月——大概有—万三千逃离战火的人们在希腊北部的伊多梅尼被拦截下来了,简直可以说是被圈禁。马其顿决议关闭了他们的边境。不过,却正是整个欧洲官方,借由机会主义的声音,尤其缘于他们的领导人的懦弱（仅仅因为一种政治上的懦弱而在或长或短的期限之中就要付出巨大的代价,这一点历史难道没有教导过我们吗？）,而拒绝向这些人们提供最低限度的接待——贯彻最起码的伦理姿态,

摘要：我在前面英格兰的故事中也提到,在1968年,青年文化所反抗的经济不景气及保守主义,其实是当时整个欧洲社会的现实,只不过比起欧洲,英国的青年文化并不成熟,而经济不景气也不那么严重,因此矛盾不像欧洲大陆那样凸显。但是,当时,如果你生活在欧洲,你就不能不正对所有这些限制。同时,欧洲经济共同体才刚刚成立,也带来了各种变动和刺激。社会上形成了保守主义与进步主义之间的冲突。仍然有人抽着雪茄、穿着三件套西装,读着报纸——社会迂腐而冗余的一面。

摘要：汪晖新著《短二十世纪：中国革命与政治的逻辑》（香港牛津大学出版社,2015）是一部论文集,汇辑了他关于二十世纪以来中国革命与政治过程的思考的十一篇文章。和霍布斯鲍姆不同,汪晖所谓的＂短二十世纪＂核心部分不是指从1914年一战爆发到1991年苏东解体为止,而是指自1911年辛亥革命前后至1970年代中期＂文革＂结束前后这一时段。按照他的叙述,＂文革＂的结束意味着革命的＂终结＂,从此进入了后革命的阶段。然而,在革命与后革命之间,既是断裂的,也是连续的,确切地说是一种连续中的断裂。