全文获取类型
收费全文 | 217篇 |
免费 | 7篇 |
出版年
2023年 | 3篇 |
2021年 | 3篇 |
2020年 | 3篇 |
2018年 | 6篇 |
2017年 | 10篇 |
2016年 | 6篇 |
2015年 | 2篇 |
2014年 | 3篇 |
2013年 | 80篇 |
2012年 | 3篇 |
2011年 | 3篇 |
2010年 | 4篇 |
2009年 | 3篇 |
2008年 | 3篇 |
2007年 | 5篇 |
2006年 | 2篇 |
2003年 | 2篇 |
2002年 | 2篇 |
2001年 | 4篇 |
2000年 | 4篇 |
1999年 | 4篇 |
1998年 | 2篇 |
1997年 | 3篇 |
1996年 | 2篇 |
1995年 | 3篇 |
1994年 | 2篇 |
1993年 | 4篇 |
1992年 | 3篇 |
1989年 | 2篇 |
1988年 | 1篇 |
1986年 | 2篇 |
1985年 | 2篇 |
1984年 | 3篇 |
1983年 | 5篇 |
1982年 | 1篇 |
1981年 | 4篇 |
1980年 | 2篇 |
1979年 | 1篇 |
1977年 | 4篇 |
1976年 | 1篇 |
1975年 | 2篇 |
1974年 | 3篇 |
1973年 | 1篇 |
1972年 | 3篇 |
1971年 | 3篇 |
1970年 | 1篇 |
1969年 | 1篇 |
1967年 | 1篇 |
1958年 | 2篇 |
1956年 | 1篇 |
排序方式: 共有224条查询结果,搜索用时 15 毫秒
81.
Peter Davis 《International Journal of Heritage Studies》2013,19(1):93-110
The idea of the ‘integrated museum’, a more socially inclusive form of cultural institution, was a key outcome from the UNESCO/ICOM ‘Round Table of Santiago’ in 1972. Many of the concepts embodied in this idea became part of ecomuseum philosophy and practice during the 1970s and 1980s, in particular the need to involve local communities and make museums more democratic. The ecomuseum has the potential to be a socially inclusive mechanism and is now a worldwide phenomenon. Many of its tenets (the museum as territory, fragmented sites, in situ conservation and community leadership) are used—in a variety of ways and with varying success—as a mechanism to conserve cultural and heritage resources and to construct and promote local or regional cultural identities. Although the philosophy and practice of ecomuseums has been subject to criticism, they are still being created, mainly in rural areas, as a means of conserving traditional landscapes and ways of life. Japan has embraced the ecomuseum philosophy, and three contrasting ecomuseums (Hirano, Asahi and Miura) are described here, their roles analysed and their democratic nature questioned. It appears that the ecomuseum does have the ability to be a truly democratic method of heritage conservation, but that ultimately much depends on leadership and the identification of the local community as the key stakeholder. 相似文献
82.
83.
84.
85.
86.
88.
Municipal solid waste management and planning traditionally have been regarded as the responsibility of local government. However, the legal climate surrounding solid waste management has become more constrained, placing local government at the mercy of the private waste management industry, and eroding the effectiveness of local waste planning efforts. This article provides an overview of recent court decisions impacting local government solid waste management. It also discusses current congressional activity relating to interstate waste transport and flow control, and assesses the potential effects of such legislation on public solid waste management and on privatization issues raised by critics of local control. 相似文献
89.
Whitney Davis 《African Archaeological Review》1984,2(1):7-35
This study proposes that prehistoric rock art in Africa represents aspects of the natural and social environment which are aesthetically charged, for practical and symbolic reasons, and which are also problematic, in specific ways, for ordinary, untutored perception. Rock art functions as a medium of communication in three principal contexts. It refers to an extended network of ritual acts and beliefs, to out-of-the-ordinary perception and knowledge, and to adaptively significant local information. Rock art is therefore a particular, specialized instrument of the production process. Investigating the study of prehistoric art from art historical, archaeological, and anthropological points of view, the paper examines the ways in which the original contexts of function or meaning might be reconstituted, given the special nature and constraints of graphic representation as a mode of knowledge. Three major traditions of prehistoric rock art in Africa, the Sahara, Nile valley, and southern, are the focus of discussion and source of examples. The paper takes as a general theme the feasibility or possibility of an adequate archaeology of prehistoric knowledge.
Résumé La présente étude propose que l'art rupestre préhistorique en Afrique représente des aspects du milieu naturel et social, exprimés de façon esthétique pour des raisons pratiques et symboliques, et qui présentent aussi des problèmes particuliers face à une perception non instruite. L'art rupestre sert de moyen de communication dans trois contextes principaux: il fait allusion à un réseau compliqué de croyances et d'actes rituels, à une perception et à des connaissances hors de l'ordinaire et à des renseignements locaux affectant l'adaptation. L'art rupestre figure donc comme instrument particulier et spécialisé dans le processus de production. En vérifiant l'étude de l'art préhistorique des points de vue historique, archéologique et anthropologique de l'art, l'article examine les façons selon lesquelles les contextes originaux de la fonction ou la signification pourraient être reconstitués, selon la nature et les contraintes spéciales de la représentation graphique comme genre de connaissance. La discussion se centre sur trois traditions principales d'art rupestre préhistorique, celles du Sahara, de la vallée du Nil et de l'Afrique du Sud, d'où sont aussi tirés les exemples. L'article a pour thème général la possibilité d'une archéologie mieux adaptée à la reconstruction des modes de connaissance préhistorique.相似文献
90.