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11.
Gemma Bird 《International Journal of Cultural Policy》2019,25(4):458-470
The arts can be a powerful tool for emancipation, community building and political expression. This article makes the argument that artistic and cultural expression should be viewed by politicians and policy makers as an effective form of political engagement and an important feedback loop for understanding the political dissatisfaction of the electorate. It draws on one particular historical example, the Négritude movement, to highlight the value and strength of cultural movements in responding to questions of politics and to draw out lessons for current policy makers in recognising the value of culture in effecting political change. Against a contemporary political and scholarly narrative of disaffected citizenship, this article demonstrates that a lack of trust in a political model does not necessarily demonstrate a disinterested citizenry; rather it can suggest a citizenry who have found new and innovative ways to engage. The Négritude movement provides one such historical example. 相似文献
12.
Olwyn Tavendale 《Oceania; a journal devoted to the study of the native peoples of Australia, New Guinea, and the Islands of the Pacific》2019,89(1):104-123
A demonstration that the spatial experience informing some Central Australian Aboriginal art is topographically precise brings into question the relevance of structuralist methodologies for appraising these maps of country. Qualitative aspects of spatial, somatic, linguistic and emotional experiences are found to inform the way‐finding depicted in paintings by artists of three language groups. 相似文献
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Sydney Calkin 《Gender, place and culture : a journal of feminist geography》2019,26(3):338-361
Ireland’s near-total abortion ban was, in effect, a policy of offshoring abortions. Before the May 2018 vote to repeal it, the 8th Amendment allowed for conservative and nationalist groups to celebrate the idea of Ireland as an ‘abortion-free’ territory, while forcing women to travel to England for abortion or self-manage abortions with illegal pills at home. Artists in the Irish pro-choice movement have contested the public silence around abortion and abortion-travel; in doing so they have disrupted the political narrative of ‘abortion-free Ireland’ by symbolically re-placing Irish abortion seekers in public spaces. These place-based artistic interventions have larger significance for the changing relationship between women, reproduction, and the state. Drawing on ongoing debates in critical and feminist geopolitics, this article addresses the relationship between geopolitics, art, and political agency to theorize the role of pro-choice Irish artworks in challenging the enforced silence that surrounded abortion travel. It builds on geographical engagement with Jacques Rancière to address the feminist geopolitics critique of geopolitical scales and sites of ‘serious’ geopolitics. The article examines three artworks that depict Irish women’s experiences of abortion-related travel to England as part of the larger political campaign for liberalization of Ireland’s abortion laws. 相似文献
15.
Janet Lee 《Gender, place and culture : a journal of feminist geography》2017,24(8):1127-1144
Although the First World War highlighted human vulnerability through the terrors of a mechanised warfare ravaging the male body in new ways, it also fostered moments of intimacy and tenderness that privileged commonality, mutuality, and generosity, and encouraged friendship and comradeship as cornerstones of martial masculinities. This article explores such intimacies through analysis of letters and diaries written by British Royal Flying Corps airmen during combat on the Western Front. Informed by history of emotions approaches, I discuss the ways the sensual geographies of aerial combat and their promise of mastery and expanded vision shaped the emotional topographies of airmen’s combat lives. Following Santanu Das’s scholarship on the claustrophobic haptic geographies of trench warfare, this article addresses the following question: If the claustrophobia of the trenches and the impoverishment of visual experience facilitated certain geographies of senses that shaped male intimacies, what might similar emotional terrains look like for airmen exposed to more expansive visual practices? 相似文献
16.
Rajesh Heynickx 《European Legacy》2017,22(3):258-277
This article analyzes the formative role of medieval theology and aesthetics in the development of postwar American architecture by focusing on the architectural theory and practice of Mies van der Rohe and Jean Labatut, both of whom became actively interested in Neo-Thomism from the late 1940s. More specifically, a closer look at their reliance on the work of Jacques Maritain, the preeminent promotor of Neo-Thomism, sheds light on the transmission and circulation of old and new concepts within twentieth-century architectural theory. By revealing how Maritain’s ideas helped to codify the latter and thus exposed the premodern ideas at the heart of modern architecture, I argue that modernist aesthetics should be re-evaluated with regards to its definition of “the new” and its emphasis on the breakdown or mutation of premodern frames of reference. 相似文献
17.
Marketing health education: advertising margarine and visualising health in Britain from 1964–c.2000
Jane Hand 《Contemporary British History》2017,31(4):477-500
During the post-war period, margarine was re-conceptualised as a value-added product with distinct health benefits. This article contextualises the advertising of margarine as a healthy food, focusing on Unilever’s Flora brand as an important case study in legitimising the emergent role of disease prevention as a marketing tool. It uses the methodology of visual culture to examine how advertising employed chronic disease prevention as a selling tool. This article assesses how the post-war environment gave rise to new ways of visually advertising food, and how these promoted innovative visualisations of food, the body and their interactions with health. 相似文献
18.
Lara Fullenwieder 《Postcolonial Studies》2017,20(1):34-50
Visual and cultural modes of expression and intercultural engagement have broad implications for recognition politics. Recognition-based strategies for the governance of Indigenous difference in settler colonies engage in an economy of perception that capitalises on the currency of inclusion and diversity. This paper explores the visual and cultural fields of recognition politics in the Canadian settler state through the examples of the 2008 Apology from the federal government for Indian Residential Schools and the stained-glass window – Giniigaaniimenaaning (Looking Ahead) by Métis artist Christi Belcourt – commissioned to commemorate the Apology. The paper uses Judith Butler’s concepts of recognisability and framing to make sense of these events as legitimations of settler colonialism. It goes on to explore the possibility of rupture in the inherent instability of ‘frames of recognition’, in Butler’s terms, and uses Jolene Rickard’s conceptualisation of visual sovereignty to also make sense of the simultaneous subversion and self-recognition that takes place in Belcourt’s artwork. In doing so, this paper furthers a critical dialogue surrounding the normativity of recognition policies and practices in Canada as well as the intersubjective or interpellative orientation of visual-cultural expressions of recognition. 相似文献
19.
Jürgen Lawrenz 《European Legacy》2020,25(2):186-202
ABSTRACTIn the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art. 相似文献
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