全文获取类型
收费全文 | 210篇 |
免费 | 13篇 |
出版年
2024年 | 1篇 |
2023年 | 2篇 |
2020年 | 2篇 |
2019年 | 8篇 |
2018年 | 8篇 |
2017年 | 8篇 |
2016年 | 15篇 |
2015年 | 6篇 |
2014年 | 5篇 |
2013年 | 45篇 |
2012年 | 7篇 |
2011年 | 8篇 |
2010年 | 5篇 |
2009年 | 4篇 |
2008年 | 7篇 |
2007年 | 5篇 |
2006年 | 4篇 |
2005年 | 5篇 |
2004年 | 5篇 |
2002年 | 4篇 |
2001年 | 2篇 |
2000年 | 8篇 |
1999年 | 9篇 |
1998年 | 3篇 |
1997年 | 3篇 |
1996年 | 3篇 |
1995年 | 2篇 |
1994年 | 1篇 |
1993年 | 3篇 |
1991年 | 2篇 |
1990年 | 2篇 |
1989年 | 3篇 |
1988年 | 3篇 |
1987年 | 3篇 |
1986年 | 4篇 |
1985年 | 1篇 |
1984年 | 4篇 |
1983年 | 2篇 |
1982年 | 4篇 |
1981年 | 2篇 |
1978年 | 2篇 |
1976年 | 1篇 |
1975年 | 1篇 |
1973年 | 1篇 |
排序方式: 共有223条查询结果,搜索用时 31 毫秒
91.
92.
93.
Patricia M. Goff 《International Journal of Cultural Policy》2019,25(5):547-551
ABSTRACTThe debate over how to reconcile trade liberalization with cultural policy is a long-standing one. There is great variation in how countries have navigated this debate. Furthermore, evolving individual policy approaches show noteworthy dynamism, largely in response to domestic politics, shifts in the international trading system and technological developments. This special issue explores different approaches to the trade and culture debate across geographic space, as well as the evolution across time through analysis of six cases – Canada, the European Union, South Africa, Latin America, the United States and China. 相似文献
94.
Patricia M. Goff 《International Journal of Cultural Policy》2019,25(5):552-567
ABSTRACTCertain countries stand out as having distinctive approaches to trade and culture. Canada occupies a key position in this pantheon of distinctive approaches. Since the 1980s, Canada has pursued a 'cultural exemption’ in its various trade agreements. The perception is that it has largely maintained this exemption, however I will show in this article that each iteration of the exemption differs from the others in subtle but noteworthy ways. These differences stem in large part from the nature of the particular trade agreement negotiations and the identity of the specific trading partner(s). Ultimately, the aim of this contribution is to show that Canada’s cultural exemption strategy has had to evolve alongside key trends in trade, notably the proliferation of free trade agreements. 相似文献
95.
96.
Patricia Zavella 《Social & Cultural Geography》2013,14(2):155-167
This paper aims to provide an overview of socio-economic inequality experienced by Latinas and Latinos, suggesting that the increase in numbers and their dispersal throughout the country disrupts the traditional black–white paradigm used in race relations theory. Instead, I argue that the particular historical and geographical experiences of Latinas/os portend complex changes within labour markets and neighbourhoods and across families, ultimately challenging how we think about race relations in the USA. 相似文献
97.
98.
99.
Patricia Tilburg 《Gender & history》2011,23(1):92-110
In the years leading up to the First World War, the Frenchwomen of a free performing‐arts programme for female workers, known as the Mimi Pinsons, began to appear frequently in popular stories, articles, poems and songs as cultural shorthand for a renovated social vision of France. Founded by composer and philanthropist Gustave Charpentier in 1900, the Oeuvre de Mimi Pinson taught its worker–students elementary music, song and dance, and gradually expanded to include a charitable organisation and social network. A closer examination of the OMP reveals that its members were also used to reconcile early twentieth‐century French anxieties about working‐class militancy and even war by way of a potent cultural association of female sexuality, aesthetic refinement and labour. In the years before the First World War, the Mimi Pinsons were defined by journalists, government officials and the OMP's own organisers according to a formulaic type which at once modernised and constrained the role of the female Parisian worker. Associated almost exclusively with the luxury‐garment trades – seamstresses, flowermakers, milliners and department‐store clerks – the new Mimi Pinsons were embraced by the public as naturally chic yet diligent guardians of French art and craft. These female worker–students allowed an easy merging of the body of the female worker with particularly French notions of the patriotic responsibility of feminine taste. When the First World War came, many of the Mimi Pinsons joined the war effort as workers and nurses, yet they were embraced by the public primarily for their service as tasteful creators of patriotic decorative objects, and as an ideal symbolic figure for managing anxieties about the social dissolution that came with the war. 相似文献
100.