亚美迪欧·莫迪利安尼《戴帽子的珍妮·赫布特尼》（伦敦佳士得2013）亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼伦敦佳士得2013.2 成交价2692.125万英镑Jeanne Hébuterne au chapeau is one of the celebrated, elegant and lyrical portraits that Amedeo Modigliani created of his eponymous common-law wife, the mother of his daughter. This picture is filled with poise, accentuated by the sinuous curve of Jeanne's neck and the gentle undulation of her body as it meanders its way down the canvas. It is easy to see, looking at her posture, why some of Modigliani's pictures from this late phase in his ultimately short but dramatic and influential career are referred to as 'Mannerist' - certainly, there are hints of Parmagianino and Pontormo here. However, they are mere reverberations: Jeanne Hébuterne au chapeau is a strikingly modern work of art, an idealised image of the artist's lover. It is a tribute to the quality of Jeanne Hébuterne au chapeau that it was included, only a few years after it was painted, in the small posthumous retrospective of Modigliani's works held at the XIII Biennale in Venice in 1922, the first such show to take place in his home country. Jeanne Hébuterne au chapeau has passed through the hands of several important dealers and collectors, beginning with Léopold Zborowski; it subsequently hung in the bedroom in dealer Paul Guillaume's apartment and was included in a 1929 exhibition of his collection. It was later acquired by the Belgian collector Henri Belien, who owned a number of works by Modigliani and other artists of the time.Looking at Modigliani's life and at his work, it becomes immediately apparent that the two were almost diametrically opposed in terms of atmosphere. The serene calm of JeanneHébuterne au chapeau contras ts dramatically with the legendary tales of drunkenness and bohemianism with which Modigliani is now so often associated. Perhaps his works provided a balance to his turbulent lifestyle. Certainly, looking at Jeanne Hébuterne au chapeau, there is a near-religious sense of grace instilled in the image of his final great lover. This may reflect Jeanne's role in sometimes - only sometimes - extricating Modigliani from the worst temptations. She provided him with an element of stability and was also sometimes able to nurse him, as he suffered from ever-declining health. For these reasons, she was looked upon with great favour by a number of those surrounding Modigliani, not least Zborowski himself, who hoped, somewhat vainly, that stability would lead to productivity. Instead, Modigliani created relatively few paintings during his short life; their rarity is reflected in the fact that over the past two years, only half a dozen have come to auction.Paul Alexandre, Modigliani's early friend and patron in Paris, said of the artist: 'The true character of Modigliani is found not in all the stories that have been told about him but in his work. Anyone who knows how to look at his portraits of women, of young men, of friends, and all the others, will discover a man of exquisite sensibility, tenderness, pride, passion for truth, purity... Each portrait is the result of deep meditation in front of the sitter... Modigliani never painted without meaning' (P. Alexandre, quoted in M. Restellini, 'Modigliani: Avant-Garde Artist or "Schizophrenic Painter"?', pp. 17-32, Restellini (ed.), Modigliani: The Melancholy Angel, exh.cat., London & Paris, 2002, p. 29). While Alexandre rightly insists that Modigliani should be judged by his pictures, not his reputation and the mythology that grew around him, the two are often inextricable.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部Nowhere is this more the case than in his ultimately tumultuous relationship with Jeanne, which ended with both their deaths, mere days apart, at the beginning of 1920, the year after Jeanne Hébuterne au chapeau was painted. In her biography of her father, Jeanne Modigliani (also known as Giovanna) wrote an account that aimed to banish the myths andtraditions that surrounded the artist, whom she had not known as she had been a baby when he died, and included this description of her mother and how she met the famous peintre maudit:'During the Carnival of 1917, Modigliani met a young student from the Académie Colarossi. Her name was Jeanne Hébuterne, and she was nineteen years old. She lived at 8 bis Rue Amyot, with her father Achille Casimir Hébuterne, an accountant, her mother Eudoxie Anaiis Tellier, and her brother André, a painter. Her father had a square white beard and worked as a cashier in a perfume shop. A passionate student of seventeenth-century literature and an atheist, he suddenly became a Roman Catholic... During the Carnival, Jeanne was at the studio of some friends, where Japanese prints and sketches of ballerinas hung on the wall, and she had dressed herself up in a pair of high boots and a sort of Russian blouse made out of a cover with a hole in the middle. Her high chignon, her bangs, the somewhat languid pose of her hands are the same in a faded photograph as they are in the first portrait of her that Modigliani ever painted. She was small, her hair was chestnut with reddish lights, and against it her complexion was so pale that the contrast made her friends nickname her "Coconut." Mme Roger Wild, who has devoutly kept the only remaining photographs of Jeanne, remembers her as a serious, intelligent girl with a strong personality' (J. Modigliani, Modigliani: Man and Myth, London, 1959, pp. 87-88).These characteristics are clearly to the fore in Jeanne Hébuterne au chapeau, where the russet hair appears to billow behind her pale head and slender neck. Modigliani's love for Jeanne was an overwhelming force. Within a short time, despite her family's disapproval, the couple were living together in ruede la Grande Chaumière in Paris, subsidised by Zborowski, the Polish poet who had become an art dealer and who would from that point onwards be one of Modigliani's most devoted followers. T owards the end of the First World War, they decamped to the South of France. Over the next few years, the couple would spend a great deal of their lives in Nice and its surroundings; Modigliani's palette would become increasingly luminous, in parallel to the development o f his friend Chaïm Soutine. The dark interiors of his earlier portraits evolved into the increasingly pastel-like shades of works such as Jeanne Hébuterne au chapeau with its turquoise-like background; this throws the dark dress and hat into bolder relief while also adding a rich luminosity to the skin tones. The influence of the South of France, of the warmth and the light and also, in 1918, the peace away from the random threat of death posed by Big Bertha, the cannon able to rain destruction on Paris from a distance of 100 kilometres, had all suffused Modigliani's works. So too did the subsequent birth of his daughter, also named Jeanne.Modigliani spent the beginning of 1919 still in the South; during this time, Jeanne became pregnant again. Around half way through the year, they both separately headed back to Paris. Jeanne Hébuterne au chapeau may have been painted either there or in the South. What appears to be a door in the background accords with some of the portraits which appear to have been created in the capital during that period as well as some pictures of Jeanne in profile believed to have been painted the previous year in Nice. Looking at Jeanne Hébuterne au chapeau, the sense of salvation that Jeanne embodied in Modigliani's pictures and in his life alike is poetically captured, not least in the hieratic gesture that she appears to be making,which likens her to a Mannerist Madonna. The raised hand recalls some images of Leda being confronted by Zeus in the form of a swan, fending off that amorous force of nature, while also infusing the picture with a singular sense of stillness that echoes the Buddhist artworks that so enchanted Modigliani. There is a mystery to this picture: the hand appears raised not in supplication or to ward anyone off, as it faces a different direction from her direct gaze, but instead is an enigmatic gesture, almost religious. At the same time, it leads the eye while also making the composition more dynamic: in a number of the pictures of Jeanne from this period, Modigliani would depict her in poses that allowed him to accentuate their sinuosity. This is the case, for instance, in the picture of Jeanne on a chair, her arm leaning on its back, in the Norton Simon Collection, Pasadena, or another featuring a similar pose showing her in a loose frock-like blouse that is now in the Metropolitan Museum of Art, New York.Modigliani used portraiture, especially of those in his immediate circle, as a means to explore an idealised aspect of humanity, an image of internal as well as external likeness. This is clearly the case in Jeanne Hébuterne au chapeau: while the hat and dress that Jeanne are wearing hint at the fashion of the day, the overall effect is one of timelessness. Jeanne has served as the Muse for an insightful and lyrical exploration of the human spirit, created using an incredibly subtle blending of colours that radiate a sense of health. Modigliani explained that, 'To do any work, I must have a living person... I must be able to see him opposite me (Modigliani, quoted in J. Modigliani, Modigliani: Man and Myth, London, 1959, p. 82). That physical presence is palpable in Jeanne Hébuterne au chapeau, as is the relationship between sitter and artist. At the same time, while Jeanne isinstantly recognisable in this work, she has been depicted in a manner that approaches a serene universality.In this way, Modigliani was continuing the investigations that had occupied him during his short-lived career as a sculptor. Having worked for some time under the guidance of the legendary Romanian sculptor Constantin Brancusi, Modigliani created a number of stone heads that were elongated and inscrutable, that had a totemic visual power and a pared-back sense of refinement that is echoed in his later paintings such as Jeanne Hébuterne au chapeau. It was with some reluctance that Modigliani had been forced to abandon sculpture as a medium, as it aggravated his already compromised health. And so he turned instead to painting, imbuing his pictures with the sculptural quality that is so evident here in the deftly-modelled neck and head in particular. Modigliani had broken with Brancusi in part because of the latter's interest in a sheer, perfect surface rather than the more ex-pressive marks that the younger artist preferred. This translates into his pictures in the dappled marks that compose so much of the picture. Nonetheless, some of Brancusi's incredibly rigorous concentration on the essential is echoed in the head and neck in particular in Jeanne Hébuterne au chapeau, which recall, say, the Romanian artist's portrait busts of Mlle Pogany. Modigliani was using a similar pictorial language in order to capture the essence both of his subject and of humanity itself. This search for an underlying dignity in human nature itself goes some way to explaining why few works other than portraits and nudes by Modigliani were created, an extremely rare exception being four landscapes from around this time.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部It was at this time that Modigliani's works were beginning to garner increasing attention amongst the critics and the press. While never the most business-minded, Zborowski, the first owner of Jeanne Hébuterne au chapeau, nonetheless had helped to increase Modigliani's status and reputation. At various times, he would give his money, his living space and even, as a model, his wife to Modigliani to maintain the momentum of his career.Zborowski also managed to organise Modigliani's first exhibition, held in 1917 at the Galerie Berthe Weill, a show which caused a scandal as the nude visible in the street resulted in complaints to the authorities and a visit from the police. Zborowski engineered Modigliani's participation in various other exhibitions, helping to cement the reputation that he already enjoyed in the cafés of Montparnasse, where his drawings were often exchanged for goods and more importantly drinks. Crucially, in 1919 Modigliani enjoyed favourable sales and reviews when his works were shown in London in an exhibition of modern French art shown at the Mansard Gallery. His reputation was on the ascendant, yet his health was deteriorating, hence another journey to the South of France with Jeanne, who was soon pregnant with what would have been their second child. The tone of Modigliani's letters was increasingly optimistic, as he discussed a possible return to his homeland, Italy. However, it was not to be: after he had gone back to Paris, he continued painting, but was weakened and ill and died at the end of January 1920, just as he was on the brink of escaping the squalor that has since become such a legendary part of his life. Jeanne followed him in death only a couple of days afterwards, unable to live without him.Modigliani was becoming increasingly accepted as a pioneer, one of the pathfinding figures in the world of modern art, when he died, and this legacy continued to grow apace. In 1922, at the Venice Biennale, Modigliani was commemorated in his homeland for the first time with a small exhibition dedicated to him which featured Jeanne Hébuterne au chapeau. T his showcase of modern art placed Modigliani on a par with many other significant figures of the avant garde at the time.Zborowski was still poor when Modigliani died, but hisfortunes suddenly changed due to the patronage of Dr Albert C. Barnes, who purchased a catalogue of works by Soutine as well as various other artists' works. 'Zbo' did not live a great deal of time after this success, himself succumbing to ill health. It may have been at the posthumous sale of his works that Jeanne Hébuterne au c hapeau entered Guillaume's collection. Certainly, it was there in time for the 1929 exhibition of his collection, where it hung alongside works by André Derain, Pablo Picasso, Pierre-Auguste Renoir and others; many of these are now in the Musée de l'Orangerie, Paris, which houses many of the works he acquired during his life. In photographs of his home at 20, avenue de Massine in Paris, where he had moved in 1928, Jeanne Hébuterne au chapeau is shown hanging on the walls of the bedroom alongside another of Modigliani's portraits of Jeanne.Guillaume had known Modigliani for several years by the time he met Zborowski. His entrance into the art world had been driven by chance: coming from modest means, while working in a garage, he had come across a group of African sculptures in a shipment of rubber and placed them in the window, fascinated by the impression they created. This in turn grabbed the attention of Guillaume Apollinaire, who became his guide into the wider world of art, where Guillaume found himself entranced by the avant garde. Guillaume's own homes, for instance his small apartment on Avenue de Villiers, sometimes doubled as his gallery, and Modigliani himself was photographed there surrounded by some of his own pictures as well as those by other artists; it was also Guillaume who introduced Barnes to Zborowski. Both dealers featured in a number of Modigliani's portraits; in one from 1915 showing Guillaume which is now in the Orangerie, Modigliani has inscribed the words NOVO PILOTA,an indication of his belief in the dealer's trailblazing role in the avant garde and a foreshadowing of his own importance in the history of art.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部参考译文《戴帽子的珍妮·赫布特尼》是阿梅迪奥莫迪利亚尼创作的著名、优雅和抒情的肖像之一，画的是他的妻子，他女儿的母亲。
选课序号课程名称性质学分教师职称人数教室时间备注开课系选课限制条件PTSS110005.01应用伦理学1 2.0瞿晓敏副教授100H3306三 5-6社会科学基础部PTSS110005.02应用伦理学1 2.0瞿晓敏副教授100H3306三 7-8社会科学基础部PTSS110005.03应用伦理学1 2.0陈金华副教授100H3306四 3-4社会科学基础部PTSS110005.04应用伦理学1 2.0徐宗良教授60HGX203四 3-4社会科学基础部PTSS110008.01中国近现代史纲要1 2.0叶根发副教授180H3108一 5-6社会科学基础部PTSS110008.02中国近现代史纲要1 2.0叶根发副教授180H3108一 7-8社会科学基础部PTSS110008.03中国近现代史纲要1 2.0肖吟新讲师180H3108三 3-4社会科学基础部PTSS110008.04中国近现代史纲要1 2.0高晓林教授180H6112三 9-10社会科学基础部PTSS110008.05中国近现代史纲要1 2.0朱潇潇讲师180H6312四 3-4社会科学基础部PTSS110008.06中国近现代史纲要1 2.0杜艳华教授180H3308五 9-10复旦大学教学名师,校级精品课程社会科学基础部PTSS110008.07中国近现代史纲要1 2.0杨宏雨教授100JB203一 9-10社会科学基础部PTSS110008.08中国近现代史纲要1 2.0肖吟新讲师100F1301三 9-10社会科学基础部PTSS110008.09中国近现代史纲要1 2.0朱潇潇讲师100Z2404四 9-10社会科学基础部PTSS110012.01中共党史人物述评1 2.0杨宏雨教授150H2214五 3-4社会科学基础部PTSS110015.01中国社会概论1 2.0胡志辉讲师100HGX307三 9-10社会科学基础部PTSS110016.01当代世界经济与政治1 2.0徐蓉副教授100H4201一 3-4社会科学基础部PTSS110017.01生命伦理学1 2.0刘学礼副教授190H5301三 7-8社会科学基础部PTSS110017.02生命伦理学1 2.0刘学礼副教授70F2304四 9-10社会科学基础部PTSS110020.01国外马克思主义思潮1 2.0陈明讲师100H3206四 7-8社会科学基础部PTSS110020.02国外马克思主义思潮1 2.0朱晓慧副教授100HGX208三 9-10社会科学基础部PTSS110027.01中国文化的精神1 2.0谌中和副教授100HGX207四 9-10社会科学基础部PTSS110031.01医学美学1 2.0何兴梅副教授70F2304三 9-10社会科学基础部PTSS110039.01国际贸易争端1 2.0钱箭星副教授30H3105五 7-8社会科学基础部PTSS110041.01科技简史1 2.0刘学礼副教授190H5301三 5-6社会科学基础部PTSS110042.01可持续发展导论1 2.0谌中和副教授100H2220三 9-10社会科学基础部PTSS110042.02可持续发展导论1 2.0钱箭星副教授100H4201四 7-8社会科学基础部PTSS110042.03可持续发展导论1 2.0肖巍教授100H3308四 9-10社会科学基础部PTSS110051.01佛洛伊德的精神分析学1 2.0徐瑞方高级讲师70F2401一 9-10社会科学基础部PTSS110053.01思想道德修养与法律基础1 2.0陈果讲师140H3406三 5-6社会科学基础部PTSS110053.02思想道德修养与法律基础1 2.0陈果讲师140H6312三 9-10社会科学基础部PTSS110053.03思想道德修养与法律基础1 2.0王贤卿副教授140H4201五 1-2社会科学基础部PTSS110053.04思想道德修养与法律基础1 2.0王贤卿副教授140H4201五 3-4社会科学基础部PTSS110053.05思想道德修养与法律基础1 2.0陈金华副教授140H3108一 3-4社会科学基础部PTSS110053.06思想道德修养与法律基础1 2.0徐蓉副教授140H3406一 5-6社会科学基础部PTSS110053.07思想道德修养与法律基础1 2.0王艳讲师140H4201一 9-10社会科学基础部PTSS110053.08思想道德修养与法律基础1 2.0王艳讲师140H4201一 7-8社会科学基础部PTSS110053.09思想道德修养与法律基础1 2.0邵晓莹副教授120H4201三 5-6社会科学基础部PTSS110053.10思想道德修养与法律基础1 2.0邵晓莹副教授120H4201三 7-8社会科学基础部PTSS110053.11思想道德修养与法律基础1 2.0胡志辉讲师140H4301四 5-6社会科学基础部PTSS110053.12思想道德修养与法律基础1 2.0胡志辉讲师140H2214四 9-10社会科学基础部PTSS110054.01马克思主义基础原理概论1 3.0刘学礼副教授140H5301三 9-11社会科学基础部PTSS110054.02马克思主义基础原理概论1 3.0瞿晓敏副教授140H3309三 9-11社会科学基础部PTSS110054.03马克思主义基础原理概论1 3.0吴海江副教授140H3409三 9-11社会科学基础部PTSS110054.04马克思主义基础原理概论1 3.0徐瑞方高级讲师140H4401四 9-11社会科学基础部PTSS110054.05马克思主义基础原理概论1 3.0韩欲立讲师140H3406五 5-7社会科学基础部PTSS110054.06马克思主义基础原理概论1 3.0韩欲立讲师140H3406五 9-11社会科学基础部PTSS110054.07马克思主义基础原理概论1 3.0陆炜副教授140H2214一 5-7社会科学基础部PTSS110054.08马克思主义基础原理概论1 3.0陆炜副教授140H2214一 9-11社会科学基础部PTSS110054.09马克思主义基础原理概论1 3.0谌中和副教授140H3408一 9-11社会科学基础部PTSS110054.10马克思主义基础原理概论1 3.0何兴梅副教授140H2115一 9-11社会科学基础部PTSS110054.11马克思主义基础原理概论1 3.0陈明讲师140H2115四 9-11社会科学基础部PTSS110054.12马克思主义基础原理概论1 3.0徐瑞方高级讲师100F1101三 9-11社会科学基础部PTSS110056.01社会主义市场经济概论1 2.0冯兆平讲师100H3309四 9-10社会科学基础部PTSS110056.02社会主义市场经济概论1 2.0冯兆平讲师100H3208五 5-6社会科学基础部PTSS110056.03社会主义市场经济概论1 2.0冯兆平讲师100H3309五 9-10社会科学基础部PTSS110056.04社会主义市场经济概论1 2.0姜凤美讲师100H4301五 9-10社会科学基础部PTSS110056.05社会主义市场经济概论1 2.0姜凤美讲师100H4301五 7-8社会科学基础部PTSS110057.01毛泽东思想中国特色理论概论1 3.0孙谦讲师180H6412三 9-11社会科学基础部PTSS110057.02毛泽东思想中国特色理论概论1 3.0魏丽娟讲师180H3408三 9-11社会科学基础部PTSS110057.03毛泽东思想中国特色理论概论1 3.0魏丽娟讲师180H3208三 5-7社会科学基础部PTSS110057.04毛泽东思想中国特色理论概论1 3.0郎秀云副教授180H6412一 5-7社会科学基础部PTSS110057.05毛泽东思想中国特色理论概论1 3.0郎秀云副教授180H2220一 9-11社会科学基础部PTSS110057.06毛泽东思想中国特色理论概论1 3.0叶梅柳副教授180H2201一 9-11社会科学基础部PTSS110057.07毛泽东思想中国特色理论概论1 3.0朱晓慧副教授150H5102三 5-7社会科学基础部PTSS110057.08毛泽东思想中国特色理论概论1 3.0陈华杰副教授150H4101四 5-7社会科学基础部PTSS110057.09毛泽东思想中国特色理论概论1 3.0章伟国副教授180H3408四 9-11社会科学基础部PTSS110057.11毛泽东思想中国特色理论概论1 3.0孙谦讲师160H4101五 9-11 社会科学基础部PTSS110057.13毛泽东思想中国特色理论概论1 3.0张济琳副教授100Z2107四 9-11 社会科学基础部PTSS119001.01生命科学中的伦理问题1 2.0朱伟副教授60HGX204二 3-4 社会科学基础部PTSS119002.01生命科学史1 2.0刘学礼副教授190H5301三 3-4 社会科学基础部PTSS119002.02生命科学史1 2.0刘学礼副教授100F1301一 9-10 社会科学基础部PTSS119004.01中国古陶瓷鉴赏与收藏1 2.0肖吟新讲师50HGX303二 2-4社会科学基础部PTSS119005.01英美电影思想解读1 2.0邵晓莹副教授120HGX104三 9-11社会科学基础部PEDU110033.01木兰拳1 1.0高艳冰副教授24H正大体育馆三 3-4校级精品课程女体育教学部10PEDU110033.02木兰拳1 1.0高艳冰副教授24H正大体育馆一 3-4校级精品课程女体育教学部10ENGL110003.01大学英语III 1 4.0外聘30H2113A 六 1-42010级学生不能选读大学英语教学部ENGL110009.01英美文化概论1 2.0孙文捷副教授30H5112三 1-2建议修完大学英语III 大学英语教学部ENGL110009.02英美文化概论1 2.0孙文捷副教授30H5112三 3-4建议修完大学英语III 大学英语教学部ENGL110009.03英美文化概论1 2.0孙文捷副教授30H5112四 3-4建议修完大学英语III 大学英语教学部三 1-2五 5-6三 1-2五 5-6三 1-2五 5-6三 3-4五 7-8三 3-4五 7-8三 3-4五 7-8三 3-4五 7-8三 5-6五 1-2三 5-6五 1-2三 5-6五 1-2三 5-6大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III HGX303HGX302HGX303HGX304HGX304HGX301HGX302HGX303HGX301HGX301HGX3023030303030303030303030副教授讲师讲师讲师讲师讲师讲师讲师讲师讲师讲师陈洁倩宋梅孙东云张雪波何雁何雁叶如兰孙东云张雪波叶如兰江静4.04.04.04.04.04.04.04.04.04.04.011111111111高级英语高级英语高级英语高级英语高级英语高级英语高级英语高级英语高级英语高级英语高级英语ENGL110017.11ENGL110017.05ENGL110017.06ENGL110017.07ENGL110017.08ENGL110017.01ENGL110017.02ENGL110017.03ENGL110017.04ENGL110017.09ENGL110017.10五 1-2三 7-8五 3-4三 7-8五 3-4三 7-8五 3-4二 1-2四 1-2ENGL110019.01《法语》(下)1 2.0陈欣副教授30H3105二 3-4 大学英语教学部二 1-2四 1-2ENGL110021.01《日语》(下)1 2.0王初文高级讲师30H3104二 3-4大学英语教学部ENGL110024.01影视与英美文化讨论1 2.0吴晓真副教授30H5106二 1-2建议修完大学英语III 大学英语教学部ENGL110024.02影视与英美文化讨论1 2.0吴晓真副教授30H5106二 3-4建议修完大学英语III 大学英语教学部ENGL110024.03影视与英美文化讨论1 2.0吴晓真副教授30H5106三 3-4建议修完大学英语III 大学英语教学部ENGL110025.01英美报刊选读1 2.0姚燕瑾副教授30Z2103四 1-2建议修完大学英语III 大学英语教学部ENGL110025.02英美报刊选读1 2.0姚燕瑾副教授30Z2103四 3-4建议修完大学英语III 大学英语教学部ENGL110026.01大学英语应用文写作1 2.0刘亦春高级讲师25H5112三 5-6建议修完大学英语III 大学英语教学部ENGL110026.02大学英语应用文写作1 2.0刘亦春高级讲师25H5112五 1-2建议修完大学英语III 大学英语教学部ENGL110026.03大学英语应用文写作1 2.0刘亦春高级讲师25H5112五 3-4建议修完大学英语III 大学英语教学部ENGL110031.01作品欣赏与翻译1 2.0万江波高级讲师30H5104三 3-4建议修完大学英语III 大学英语教学部ENGL110031.02作品欣赏与翻译1 2.0万江波高级讲师30H5104三 5-6建议修完大学英语III 大学英语教学部ENGL110031.03作品欣赏与翻译1 2.0万江波高级讲师30H5104三 7-8建议修完大学英语III 大学英语教学部ENGL110033.01高级英语视听说1 2.0宣枫讲师30H1208五 3-4建议修完大学英语III 大学英语教学部ENGL110033.02高级英语视听说1 2.0凌秋虹讲师30F1102三 3-4建议修完大学英语III 大学英语教学部ENGL110035.01实用交际英语口语1 2.0季佩英教授25H2113B 四 1-2建议修完大学英语III 大学英语教学部ENGL110036.01英语公众演说1 2.0时丽娜讲师25H2113A 三 3-4建议修完大学英语III 大学英语教学部ENGL110036.02英语公众演说1 2.0时丽娜讲师25H2113A 三 5-6建议修完大学英语III 大学英语教学部ENGL110036.03英语公众演说1 2.0时丽娜讲师25H2113A 五 3-4建议修完大学英语III 大学英语教学部ENGL110039.01英语听力1 2.0季佩英教授35H1208三 1-2建议修完大学英语III 只准08、09级学生选读大学英语教学部ENGL110039.02英语听力1 2.0季佩英教授35H1208三 3-4建议修完大学英语III 只准08、09级学生选读大学英语教学部ENGL110039.03英语听力1 2.0王薇讲师35H1208三 5-6建议修完大学英语III 只准08、09级学生选读大学英语教学部ENGL110039.04英语听力12.0王薇讲师35H1208三 7-8建议修完大学英语III 只准08、09级学生选读大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部大学英语教学部建议修完大学英语III 建议修完大学英语III 建议修完大学英语III 建议修完大学英语III HGX302HGX301H3105H3104HGX303HGX303303030303030副教授讲师副教授高级讲师讲师高级讲师陈洁倩江静陈欣王初文宋梅范烨4.04.02.02.04.04.0111111高级英语高级英语《法语》(上)《日语》(上)高级英语高级英语ENGL110017.13ENGL110017.14ENGL110018.01ENGL110020.01ENGL110017.11ENGL110017.12ENGL110039.05英语听力1 2.0宣枫讲师35H1208五 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110039.06英语听力1 2.0宣枫讲师35H1208五 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.01英语口语1 2.0外教25H2112B三 3-4建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.02英语口语1 2.0外教25H2112B三 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.03英语口语1 2.0外教25H2112B三 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.04英语口语1 2.0外教25H2112B四 3-4建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.05英语口语1 2.0外教25H2113B四 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.06英语口语1 2.0外教25H2113B四 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.07英语口语1 2.0陆丽萍副教授25H2113B五 3-4建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.08英语口语1 2.0陆丽萍副教授25H2113B五 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110040.09英语口语1 2.0陆丽萍副教授25H2113B五 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110041.01英语写作1 2.0外教25H2112B五 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110041.02英语写作1 2.0外教25H2112B五 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110041.03英语写作1 2.0外教25H2113B三 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110041.04英语写作1 2.0外教25H2113B三 7-8建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110041.05英语写作1 2.0汪中平讲师25H1306一 3-4校级精品课程 建议修完大学英语III 只准大学英语教学部ENGL110041.06英语写作1 2.0汪中平讲师25H1306一 5-6校级精品课程 建议修完大学英语III 只准大学英语教学部ENGL110041.07英语写作1 2.0汪中平讲师25H1306一 7-8校级精品课程 建议修完大学英语III 只准大学英语教学部ENGL110043.01英语口译1 2.0丁小龙副教授30H5108五 1-2建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110043.02英语口译1 2.0丁小龙副教授30H5108五 3-4建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110043.03英语口译1 2.0丁小龙副教授30H5108五 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110043.04英语口译1 2.0康志峰副教授30HGX204三 1-2建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110043.05英语口译1 2.0康志峰副教授30HGX204三 3-4建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110043.06英语口译1 2.0康志峰副教授30HGX204三 5-6建议修完大学英语III只准08、09级学生选读大学英语教学部ENGL110045.01学术英语（科学技术）1 2.0蔡基刚教授30H5308一 1-2建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110045.02学术英语（科学技术）1 2.0蔡基刚教授30H5308一 3-4建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110046.01学术英语（社会科学）1 2.0季佩英张颖教授讲师30H5308五 1-2建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110046.02学术英语（社会科学）1 2.0季佩英张颖教授讲师30H5308五 3-4建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110047.01学术英语（文史哲）1 2.0王建伟讲师30H5308四 5-6建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110047.02学术英语（文史哲）1 2.0王建伟讲师30H5308四 7-8建议修完大学英语III只准2010级学生选读大学英语教学部10ENGL110048.01学术英语（管理科学）1 2.0邱东林教授30H5308三 3-4复旦大学教学名师建议修完大学英语III 大学英语教学部10FINE110001.01影视剧艺术1 2.0龚金平讲师80H4204三 9-10艺术教育中心FINE110001.02影视剧艺术1 2.0周涛助教80H3406四 9-10艺术教育中心FINE110001.03影视剧艺术1 2.0高燕讲师80H4301三 7-8艺术教育中心FINE110001.04影视剧艺术1 2.0周涛助教60JB307三 9-10艺术教育中心FINE110006.01校园歌曲赏析和创作1 2.0钱武杰讲师20H文科楼830三 9-10研讨型课程艺术教育中心FINE110007.01当代电影美学1 2.0龚金平讲师80H4101四 9-10艺术教育中心FINE110014.01中外音乐审美1 2.0陈莉萍高级讲师80H2101三 7-8艺术教育中心FINE110014.02中外音乐审美1 2.0钱武杰讲师80H6112一 7-8艺术教育中心FINE110014.03中外音乐审美1 2.0钱武杰讲师80H6112一 9-10艺术教育中心FINE110015.01中西美术1 2.0张勇讲师80H2101四 9-10艺术教育中心FINE110015.02中西美术1 2.0张榉文助教80H3301一 9-10艺术教育中心FINE110018.01艺术设计原理1 2.0周进高级讲师80H3308一 9-10艺术教育中心FINE110020.01陶艺入门1 2.0包春雷讲师25H院系自主四 7-8艺术教育中心FINE110026.01中国音乐史1 2.0陈曦瑶助教80HGX210四 7-8艺术教育中心FINE110029.01爵士乐赏析1 2.0乔靖讲师80H3406一 7-8艺术教育中心FINE110029.02爵士乐赏析1 2.0乔靖讲师60F1404一 9-10艺术教育中心FINE110031.01数码钢琴演奏（初级）1 2.0花白助教24H院系自主一 9-10艺术教育中心FINE110034.01合唱作品赏析与实践（初级）1 2.0陈瑜讲师40H院系自主三 7-8艺术教育中心FINE110035.01二胡演奏艺术及技法1 2.0陈曦瑶助教15H院系自主四 9-10艺术教育中心FINE110036.01世界民族音乐文化1 2.0陈莉萍高级讲师60H2201三 9-10艺术教育中心FINE110037.01美学与人生1 2.0高燕讲师60H4101一 7-8艺术教育中心FINE110038.01中外建筑与环境艺术1 2.0张榉文助教60H5312四 7-8艺术教育中心FINE110038.02中外建筑与环境艺术1 2.0张榉文助教60H6106四 9-10艺术教育中心FINE110039.01中世纪艺术1 2.0宋可即研究实习员50H3306一 7-8全英语课程艺术教育中心FINE110041.01影视作品创作分析1 2.0许肖潇助教60H2101一 9-10艺术教育中心FINE110042.01构成艺术与设计思维1 2.0丁玉红讲师60H4201四 9-10艺术教育中心FINE119004.01京剧表演艺术1 2.0章伟国副教授150H6212四 5-6艺术教育中心FINE119004.02京剧表演艺术1 2.0章伟国副教授150F2306四 5-6视频教学艺术教育中心FINE119004.03京剧表演艺术1 2.0章伟国副教授150JB301四 5-6视频教学艺术教育中心FINE119004.04京剧表演艺术1 2.0章伟国副教授150Z2306四 5-6视频教学艺术教育中心FINE119005.01音乐理论与实践1 2.0陈瑜讲师24H院系自主三 5-6艺术教育中心FINE119006.01抽象艺术审美与创造1 2.0王世靖许德民副教授120H5102三 9-10艺术教育中心FINE119007.01音乐剧赏析与表演1 2.0王作欣教授25H6104四 7-8艺术教育中心NDEC110002.01军事理论1 1.0翟毓兴副研究员100H3401一 1-2军事理论教研室NDEC110002.02军事理论1 1.0翟毓兴副研究员100H3401一 3-4军事理论教研室NDEC110002.03军事理论1 1.0翟毓兴副研究员100H3401一 7-8军事理论教研室NDEC110002.04军事理论1 1.0翟毓兴副研究员100H3401一 9-10军事理论教研室NDEC110002.05军事理论1 1.0翟毓兴副研究员100H3401二 1-2军事理论教研室NDEC110002.06军事理论1 1.0黄荣国副教授100H3401二 3-4军事理论教研室NDEC110002.07军事理论1 1.0黄荣国副教授100H3401三 1-2军事理论教研室NDEC110002.08军事理论1 1.0黄荣国副教授100H3401三 3-4军事理论教研室NDEC110002.09军事理论1 1.0黄荣国副教授100H3401三 5-6军事理论教研室NDEC110002.10军事理论1 1.0黄荣国副教授100H3401三 7-8军事理论教研室NDEC110002.11军事理论1 1.0赵亮研究实习员100H3401三 9-10军事理论教研室NDEC110002.12军事理论1 1.0赵亮研究实习员100H3401四 1-2军事理论教研室NDEC110002.13军事理论1 1.0赵亮研究实习员100H3401四 3-4军事理论教研室NDEC110002.14军事理论1 1.0赵亮研究实习员100H3401四 5-6军事理论教研室NDEC110002.15军事理论1 1.0范科琪研究实习员100H3401五 1-2军事理论教研室NDEC110002.16军事理论1 1.0范科琪研究实习员100H3401五 3-4军事理论教研室NDEC110002.17军事理论1 1.0范科琪研究实习员100H3401五 5-6军事理论教研室NDEC110002.18军事理论1 1.0范科琪研究实习员100H3401五 7-8军事理论教研室NDEC110006.01轻武器与射击1 2.0赵亮研究实习员36H3401一 5-6军事理论教研室911.001.2.01现代汉语(下)9 2.0张豫峰副教授15HGX308四 7-809中国语言文学系汉语言文学(二学位) 911.004.1.01世界文学导读9 2.0许平讲师15HGX509三 9-1008中国语言文学系汉语言文学(二学位) 911.005.1.01现代文艺赏析9 2.0李振声副研究员15HGX208三 5-609中国语言文学系汉语言文学(二学位) 911.006.1.01中国文学传统9 2.0汪涌豪教授15H2101二 3-409中国语言文学系汉语言文学(二学位) 911.008.1.01比较文学导论9 2.0杨乃乔教授15HGX104三 5-608中国语言文学系汉语言文学(二学位) 911.011.1.01《论语》精读9 2.0傅杰教授15H6112三 7-809中国语言文学系汉语言文学(二学位) 911.012.1.01文学概论9 2.0张德兴教授20HGX203四 9-1008中国语言文学系汉语言文学(二学位) 911.014.1.01中国古代文学史(上)9 2.0朱刚副教授15HGX104三 3-409中国语言文学系汉语言文学(二学位) 911.014.3.01中国古代文学史(下)9 2.0汪耀明副教授15HGX302一 7-808中国语言文学系汉语言文学(二学位) 911.016.1.01鲁迅精读9 2.0李楠副教授20HGX209一 9-1008/09中国语言文学系汉语言文学(二学位) 911.018.1.01毕业论文9 4.0陈引驰教授20H院系自主六 1-107中国语言文学系汉语言文学(二学位) 911.022.1.01文化新诗学9 2.0张芙鸣副教授20HGX202一 7-807中国语言文学系汉语言文学(二学位) 911.027.1.01台港澳文学研究9 2.0梁燕丽副教授20HGX202二 9-1007中国语言文学系汉语言文学(二学位) CHIN110001.01中国古代文学名著赏析1 2.0羊列荣副教授80HGX209四 9-10中国语言文学系CHIN110002.01中国古典诗词鉴赏1 2.0侯体健80HGX210四 9-10中国语言文学系CHIN110004.01古代散文鉴赏1 2.0汪耀明副教授80HGX409一 5-6中国语言文学系CHIN110007.01古代名剧鉴赏1 2.0陈维昭研究员60HGX303四 9-10中国语言文学系CHIN110008.01大学语文1 2.0顾国讲师60HGX403一 9-10中国语言文学系CHIN110009.01当代世界文学1 2.0王柏华副教授80HGX309四 5-6中国语言文学系CHIN110010.01当代文学鉴赏1 2.0王东明副教授80HGX309四 9-10中国语言文学系CHIN110011.01东西方美学思潮1 2.0张旭曙副教授80HGX310四 9-10校级精品课程中国语言文学系CHIN110012.01古代文学选讲1 2.0张金耀讲师80HGX105一 9-10中国语言文学系CHIN110013.01汉语写作1 2.0孟金蓉讲师60HGX402三 9-10中国语言文学系CHIN110015.01现代文学思潮1 2.0张芙鸣副教授80HGX409四 9-10中国语言文学系CHIN110017.01影视艺术审美1 2.0杨俊蕾副教授50HGX404一 9-10中国语言文学系CHIN110018.01语言与文化1 2.0申小龙教授120HGX104四 9-10复旦大学教学名师中国语言文学系CHIN110025.01中国民俗文化1 2.0郑土有教授80HGX307三 5-6中国语言文学系CHIN110026.01风俗与文学1 2.0张勤讲师80HGX106一 9-10中国语言文学系CHIN110027.01先秦诸子美学思想与文化1 2.0谢金良副教授80HGX309三 9-10中国语言文学系CHIN110028.01文学与人生1 2.0吴兆路研究员50HGX502四 9-10中国语言文学系CHIN119001.01古典诗词导读1 2.0骆玉明教授120H6112一 5-6上海市教学名师中国语言文学系CHIN119003.01《周易》与中华审美文化1 2.0谢金良副教授80HGX308三 5-6中国语言文学系CHIN119007.01唐宋八大家古文1 2.0朱刚副教授80HGX310二 3-4中国语言文学系CHIN119011.01鲁迅与中国现代文化1 2.0李楠副教授80HGX410一 5-6中国语言文学系CHIN119013.01宋词导读1 2.0聂安福副教授110HGX308四 5-6中国语言文学系CHIN119018.01《文选》与中古社会1 2.0汪习波助理研究员80HGX410二 3-4中国语言文学系CHIN120002.01中国文学传统2 2.0汪涌豪教授200H2101二 3-4中国语言文学系10 中国语言文学类CHIN120003.01美学2 2.0张宝贵副教授100HGX407一 3-4中国语言文学系10 中国语言文学类CHIN120003.02美学2 2.0朱立元教授100HGX104一 3-4中国语言文学系10 中国语言文学类CHIN120004.01四大古典小说解读2 2.0罗书华副教授100HGX208四 3-4中国语言文学系10 中国语言文学类CHIN120005.01唐诗与宋词2 2.0聂安福副教授100HGX207一 5-6中国语言文学系10 中国语言文学类CHIN120006.01现代文艺赏析2 2.0李振声副研究员100HGX208三 5-6中国语言文学系10 中国语言文学类CHIN120008.01语言学名著选读2 2.0霍四通讲师100HGX207五 3-4中国语言文学系10 中国语言文学类CHIN120009.01中西文艺学名著导读2 2.0陆扬教授100HGX208四 5-6中国语言文学系10 中国语言文学类CHIN120010.01论语精读2 2.0傅杰教授150H6112三 7-8中国语言文学系10 中国语言文学类CHIN130003.01现代汉语(下)3 2.0张豫峰副教授70HGX308四 7-8中国语言文学系09 中国语言文学系CHIN130003.02现代汉语(下)3 2.0陈振宇讲师70HGX407四 7-8中国语言文学系09 中国语言文学系CHIN130005.01中国现当代文学史(下)3 2.0倪伟副教授70HGX309一 3-4中国语言文学系09 中国语言文学系CHIN130005.02中国现当代文学史(下)3 2.0刘志荣副教授70HGX310一 3-4中国语言文学系09 中国语言文学系CHIN130007.01中国古代文学史(中)3 2.0朱刚副教授120HGX104三 3-4国家级精品课程中国语言文学系09 中国语言文学系CHIN130011.01语言学概论3 2.0卢英顺副教授70H3101三 5-6中国语言文学系09 中国语言文学系CHIN130011.02语言学概论3 2.0张新华讲师70H3201三 5-6中国语言文学系09 中国语言文学系CHIN130012.01比较文学导论3 2.0杨乃乔教授119HGX104三 5-6中国语言文学系08 汉语言文学(武警班) 08 汉语言文学CHIN130016.01《史记》精读3 2.0李祥年副教授130HGX103一 9-10中国语言文学系08 哲学(国学方向)09 汉语言文学09 哲学(国学方向)CHIN130018.01《四库提要》精读3 2.0陈尚君教授131HGX104一 5-6国家级精品课程中国语言文学系08 汉语言文学08 汉语言文学(武警班)09 哲学(国学方向)08 哲学(国学方向)CHIN130021.01社会实践3 2.0张勤讲师151H院系自主六 1-1中国语言文学系08 汉语言文学08 汉语言08 汉语言文学(武警班)CHIN130022.01学年论文3 1.0张勤讲师151H院系自主六 2-2中国语言文学系08 汉语言文学08 汉语言08 汉语言文学(武警班)CHIN130023.01毕业论文3 4.0陈引驰教授137H院系自主六 3-3中国语言文学系07 中国语言文学系CHIN130028.01中国语言学史3 2.0傅杰教授32HGX402二 3-4中国语言文学系08 汉语言CHIN130038.01现当代西方美学3 2.0张旭曙副教授119HGX103四 3-4中国语言文学系08 汉语言文学(武警班) 08 汉语言文学CHIN130048.01中西比较诗学3 2.0白钢副研究员100HGX308四 3-4中国语言文学系09 汉语言文学CHIN130049.01女性文学研究3 2.0张岩冰副教授119HGX103四 5-6中国语言文学系08 汉语言文学(武警班) 08 汉语言文学CHIN130057.01李杜精读3 2.0查屏球教授100HGX208五 3-4中国语言文学系09 汉语言文学CHIN130058.01《胡适文存》精读3 2.0段怀清100HGX208一 5-6中国语言文学系09 汉语言文学CHIN130059.0120世纪古代文学研究史3 2.0周兴陆副教授60HGX310三 3-4中国语言文学系07 汉语言文学CHIN130070.01基督教与中国现代文学3 2.0周双全讲师60HGX510三 5-6中国语言文学系07 汉语言文学CHIN130075.01世界文学名著精读3 2.0王宏图副教授119H3406二 3-4中国语言文学系08 汉语言文学08 汉语言文学(武警班)CHIN130085.01中国现代文论3 2.0孙洁讲师100HGX307四 5-6中国语言文学系09 汉语言文学CHIN130111.01沈从文精读3 2.0张新颖教授118HGX208三 7-8中国语言文学系09 汉语言文学CHIN130121.01艺术人类学导论3 2.0郑元者教授119H4401二 3-4中国语言文学系08 汉语言文学08 汉语言文学(武警班)CHIN130129.01西方美学经典导读3 2.0杨俊蕾副教授100HGX208一 7-8中国语言文学系09 汉语言文学CHIN130130.01庄子精读3 2.0陈引驰教授107HGX408二 3-4国家级精品课程中国语言文学系08 哲学(国学方向)07 哲学(国学方向)09 汉语言文学09 哲学(国学方向)CHIN130134.01近代汉语3 2.0梁银峰讲师32HGX309三 3-4 中国语言文学系08 汉语言CHIN130138.01语义学3 2.0戴耀晶教授30HGX304四 5-6 中国语言文学系09 汉语言CHIN130139.01汉语修辞学史3 2.0吴礼权教授32HGX501五 3-4 中国语言文学系08 汉语言CHIN130141.01修辞学研究3 2.0刘大为教授60HGX409二 3-4 中国语言文学系08 汉语言07 汉语言CHIN130156.01《语言论》精读3 2.0龚群虎教授32HGX301一 5-6 中国语言文学系08 汉语言CHIN130159.01汉语词汇学3 2.0王文晖副教授30H2112A 三 5-6 中国语言文学系07 汉语言CHIN130160.01汉语方言学3 2.0陶寰副教授32HGX509三 5-6 中国语言文学系08 汉语言CHIN130163.01生成语言学3 2.0陈振宇讲师32HGX401四 5-6 中国语言文学系08 汉语言CHIN130164.01实验语音学3 2.0平悦铃讲师30HGX304五 3-4 中国语言文学系09 汉语言CHIN130173.01中国手语语言学3 2.0龚群虎教授30HGX401二 3-4 中国语言文学系09 汉语言CHIN130182.01近现代通俗文学专题3 2.0袁进教授60HGX205二 3-4 中国语言文学系07 汉语言文学CHIN130183.01华语电影评析3 2.0杨新宇助理研究员119HGX103三 3-4 中国语言文学系08 汉语言文学08 汉语言文学(武警班)CHIN130185.01文字学3 2.0殷寄明教授30HGX306四 3-4 中国语言文学系09 汉语言CHIN130186.01训诂学32.0王文晖副教授43HGX301四 3-4中国语言文学系09 哲学(国学方向)08 汉语言08 哲学(国学方向)三 1-2五 5-6三 1-2五 5-6912.003.1.01翻译概论9 3.0姜倩讲师60H6110五 9-1108外国语言文学学院08 英汉双语翻译(二专)912.004.1.01英语写作(上)9 3.0强晓讲师60H6202一 9-1109外国语言文学学院09 英汉双语翻译(二专)912.005.1.01英汉互译技巧I 9 3.0陶友兰副教授60H6202二 9-1109外国语言文学学院09 英汉双语翻译(二专)912.006.1.01英汉视译I 9 3.0管玉华讲师60H6202五 9-1109外国语言文学学院09 英汉双语翻译(二专)912.007.1.01交替传译9 3.0冯超讲师48H1306二 5-708外国语言文学学院08 英汉双语翻译(二专)912.008.1.01译文比较与评判9 3.0王建开教授60H6110三 9-1108外国语言文学学院08 英汉双语翻译(二专)912.009.1.01英美短篇小说选读9 3.0王建开教授60H6110四 9-1108外国语言文学学院08 英汉双语翻译(二专)912.011.1.01世界文学导读92.0汪洪章教授30H6312三 5-608/09外国语言文学学院英汉双语翻译(二专)09 留学生 中国语言文学系10 留学生 中国语言文学系中国语言文学系中国语言文学系 HGX504HGX3045050讲师副教授梁银峰卢英顺4.04.011留学生高级汉语II 留学生专业汉语II ICES110002.03ICES110004.01。
编者按：对于很多大陆自行车消费者来说，“高士特
自行车”是一个既熟悉又陌生的名字。
我们经常能听到高士
特赞助的车队在赛场上屡获佳绩，却又很少看到他们的产品
在市场上售卖。
杨倩玉女士是高士特（Gusto）大陆区总经
理，作为一名行业的“新”人，她希望行业能联合力量让自
行车市场更丰富；作为一名游泳比骑车更优秀的自行车品牌
的负责人，她希望自行车能更好“玩”。
文/王震蒙
——访高士特（Gusto）大陆区总经理杨倩玉女士
更好
Cross-Border is to Make Bicycles More Fun——Interview of Mrs. Yang Qianyu, the General Manager Continental of Gusto 我想让自行车跨界而来，玩
COVER STORY
封面故事
COVER STORY 封面故事
COVER STORY 封面故事
COVER STORY 封面故事。
