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HUANG Daoxuan 《Journal of Modern Chinese History》2019,13(1):61-75
ABSTRACTDuring the Chinese War of Resistance against Japanese Aggression and the Civil War, the Chinese Communist Party (CCP) imposed restrictions on the marriage of its cadres, so as to maintain the Party’s effective control and combat cohesion. The Central Committee of the CCP did not issue uniform regulations on this topic; most decisions were made by the base areas, with the indirect support of the Central Committee. Marriage and love are personal matters, and the restrictions certainly caused emotional suffering for ordinary cadres affected. However, there were important reasons for the CCP’s implementation of these measures. Through punishment and guidance, these restrictions were carried out smoothly and did not cause great upheaval. As love and marriage became areas subject to the political power of the CCP, they unexpectedly became a focal point of the collision between individuality and Party spirit and between the individual and the group. 相似文献
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Eden Kinkaid 《Gender, place and culture : a journal of feminist geography》2019,26(12):1784-1811
AbstractIn recent years, geographers have increasingly called for and enacted more sustained engagements between geography and the arts. This creative (re)turn represents both a renewed interest in recovering interdisciplinary practices within the history of the discipline and a desire to create space for new methods and creative approaches. This article develops in response to two areas requiring further critical engagement and development within the creative (re)turn: questions about the place of identity in creative geographies and the potential for creative geographies to perform critical interventions into disciplinary spaces and identities. I explore and develop these areas of concern alongside a discussion of a critical-creative geographies exhibit, The Critical Futures Visual Archive. Through a presentation of select works in this collection and a candid discussion of the institutional obstacles encountered in curating it, I elaborate upon the challenges and critical potentials of integrating creative practices into geography as a form of feminist praxis. 相似文献
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Andrekos Varnava 《Contemporary British History》2019,33(4):548-572
ABSTRACTIn the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. Not Started Completed Rejected. 相似文献