首页 | 本学科首页   官方微博 | 高级检索  
文章检索
  按 检索   检索词:      
出版年份:   被引次数:   他引次数: 提示:输入*表示无穷大
  收费全文   930篇
  免费   44篇
  2023年   29篇
  2022年   9篇
  2021年   9篇
  2020年   39篇
  2019年   40篇
  2018年   25篇
  2017年   42篇
  2016年   49篇
  2015年   29篇
  2014年   31篇
  2013年   141篇
  2012年   41篇
  2011年   46篇
  2010年   40篇
  2009年   48篇
  2008年   64篇
  2007年   50篇
  2006年   54篇
  2005年   49篇
  2004年   27篇
  2003年   37篇
  2002年   26篇
  2001年   17篇
  2000年   20篇
  1999年   8篇
  1996年   2篇
  1995年   1篇
  1992年   1篇
排序方式: 共有974条查询结果,搜索用时 15 毫秒
71.
Drawing upon Littler and Naidoo's ‘white past, multicultural present’ alignment, this article examines English newspaper coverage of two ‘British’ events held in 2012 (the Diamond Jubilee and the London Olympic Games). In light of recent work on English nationalism, national identity and multiculturalism, this article argues that representations of Britain oscillated between lamentations for an English/British past – marred by decline – and a present that, while being portrayed as both confident and progressive, was beset by latent anxieties. In doing so, ‘past’ reflections of England/Britain were presented as a ‘safe’ and legitimate source of belonging that had subsequently been lost and undermined amidst the diversity of the ‘present’. As a result, feelings of discontent, anxiety and nostalgia were dialectically constructed alongside ‘traditional’ understandings of England/Britain. Indeed, this draws attention to the ways in which particular ‘versions’ of the past are engaged with and the impact that this can have on discussions related to multiculturalism and the multiethnic history of England/Britain.  相似文献   
72.
This article examines how and in which societal and political contexts nationhood is expressed and symbolised in reunified Germany. This ‘rediscovery’ of nationhood since the 1990s mixes new and old motifs of the cultural repertoire of ‘the national’ for different purposes. Three main contexts triggered a rediscovery of ‘the national’ after 1989: reunification, immigration and the retrenchment of the social state. I argue, by analysing ethnographic material and political discourses, that these contexts, on the one hand, rearticulate old forms of ethnic and cultural nationalism and, on the other hand, create new images and symbols of an open civic society and immigration country. There are ‘playful’ forms, such as campaigns of nation branding, that symbolically include the ‘productive’ and ‘useful’ immigrant into the national project. Moreover, such campaigns serve to legitimatise the downsizing of the national state that – according to a neoliberal attitude – relies on a new community spirit of entrepreneurial, ‘activated’ citizens who ‘help themselves’. Thus, focusing on these pluralised renationalisation processes makes evident how polyvalent ‘the national’ still is. It can be employed by those who attempt to ‘reunite’ the East and West Germans, by businesses to sell their goods and ideas and by almost any political orientation, be it right‐wing or left‐wing.  相似文献   
73.
74.
近代学人为后学开设国学书目者甚众,但以大学生为对象拟定国学读书书目的并不多,其中较有名者有吴汝纶、梁启超、胡适等人。他们三人为大学生所拟国学书目虽各异其趣,却有诸多相通之处:一是所拟书目均以传承国学为宗旨;二是所拟国学均有学习程度上的层级划分,以适应不同层次大学生的学习需求;三是所拟书目基本上是按传统图书四部分类法分类筛选,这种书目筛选法在相当程度上保证了所拟国学书目能系统、完整地传承国学。他们关于国学范围的界定、国学书目的筛选、国学书目的分级与分类等问题的思考对于当今中国大学的国学教育仍然有一定借鉴意义。  相似文献   
75.
康有为是中国近代史上提倡向西方学习的文化先驱,是最早明确提出建立博物馆的有识之士,是积极倡导建立博物馆的领袖人物。康有为对近代博物馆的认知和宣传,以其1898年逃亡海外为界,分为两个时期。第一个时期,他通过大量阅读西书,知道了近代博物馆及其功能;第二个时期,他流亡海外,仍向国人介绍众多亲历的博物馆,并提出建立博物馆的理论和建议。  相似文献   
76.
杨斌 《旅游科学》2005,19(5):15-20
全国旅游资源普查工作还处于尝试性的初期阶段,大连市参与其中并在工作中对〈国标〉有所突破.本文以笔者在大连参加旅游资源普查工作的体会为基础,从理论和实践技术两个层面对工作中遇到的一些问题进行了阐述和分析.理论层面主要是关于〈国标〉中对旅游资源的定义及其所采用的方法论问题的讨论;实践技术层面主要是在对〈国标〉内容、概念、分类、解释及操作方法理解的基础之上,对〈国标〉局部进行更深层次的剖析,并提出一些改进建议.  相似文献   
77.
王乃明  王伟  毛芸存 《攀登》2005,24(3):73-76
科技创新作为科学技术中最活跃、最革命的因素,是科技进步的前提和核心.是西部少数民族地区全面建设小康社会的火车头和第一推动力。西部少数民族地区必须通过科技创新,调整发展思路,转变生产方式,培育新的优势;必须依靠科技创新,抢占发展的制高点,提高综合竞争力,促进西部少数民族地区全面小康社会建设,构建和谐社会。  相似文献   
78.
王玉邦 《攀登》2005,24(6):104-106
本文论述了新形势下做好格尔木地区民族宗教工作的重要性、存在的问题以及对策。  相似文献   
79.
Over the past four decades several workers have argued that the orientations of striations on the labial surfaces of the front teeth of Middle and Late Pleistocene fossils attributed to Neanderthals and antecedent archaic hominids can tell us something about handedness. These researchers have suggested that such scratches result from stone tools scraping across the incisors during ‘stuff‐and‐cut’ behaviours, and that they reflect directions of hand movements and handedness. In this study, we examine comparable wear features on the incisors of anatomically modern humans to determine whether striation angle may reflect handedness. The teeth from 66 individuals representing four groups with known differences in subsistence practices (Aleut, Arikara, Illinois Bluff, and Puye) were examined. Photomicrographs were made of the maxillary central incisor labial surfaces of all individuals at 56× magnification. These photomicrographs were scanned to image files, and orientations of all visible wear striations were measured using a semi‐automated image analysis procedure. Approximately three‐quarters of all labial surfaces showed a preferred striation orientation. Of those, most had preferred apico‐cervical or vertical striation orientations, independent of cultural affiliation. Few showed the tendency toward diagonally‐oriented scratches expected if handedness is related to scratch orientation. We found no evidence for ‘stuff‐and‐cut’ striations, despite the fact that at least one of the groups studied—the Aleut—are documented to have used this behaviour. In sum, there is evidently no relationship between striation orientation and handedness in the groups studied. It is, therefore, unlikely that labial scratch orientation in Middle and Late Pleistocene hominids reflects handedness if they used their front teeth in a manner comparable to that of any of the anatomically modern groups considered here. Copyright © 1999 John Wiley & Sons, Ltd.  相似文献   
80.
许浩 《人文地理》2005,20(2):93-97
现代艺术是目前唯一在国际上占统治地位的艺术现象。本文从地理学角度出发研究现代艺术的发展演变。首先回顾了现代艺术的发展过程,重点分析了现代艺术的地域性特征,指出国际现代艺术体系有"中心-边缘"性的分布格局,从流派数量和艺术主题的变化方面总结了其发展演变特点,并且总结了历史上三次重要的艺术扩散过程。其次分析了我国现代艺术发展的时空分布和地理格局,指出我国现代艺术的中心位于东部沿海大城市,具有分布不均、在国际体系中地位不高的特征。最后指出我国城市积极参与国际现代艺术体系、提升文化艺术地位的重要性和途径。  相似文献   
设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号