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1.
He Baogang 《Australian journal of political science》1992,27(1):120-136
The nature of the political culture itself is often seen by commentators as the cause of democracy failing to take root in China; the antidemocratic elements of that culture being overemphasised while the democratic elements are underemphasised. This paper examines the application of the ideas of democratic culture in China to the current state of play, including the possibility of the democratic card being played by factions within the Chinese Communist Parry (CCP). There are indeed cultural problems associated with Chinese democratisation such as cultural anomie, unconscious authoritarian personalities, the legacy of egalitarianism, the radical polarisation of Chinese culture, difficulties of institutional compromise and the irrational control of aggression and fear. While the antidemocratic culture is stronger at present than the democratic culture, the new Chinese democratic culture is likely to gather strength in the future. 相似文献
2.
何堂坤 《文物保护与考古科学》1990,2(2):33-38
本文通过考古实物的科学分析,认为早在西周时期胶东青铜技术便发展到了一定水平,战国后便发展到了较为成熟的阶段,大约自西周始,胶东青铜技术与中原便是大体同步发展了的.文章最后还将胶东青铜合金成分与《考工记·六齐》作了比较,并提出了“六齐”既不是生产经验的总结,也不是指导生产实践的工艺规范,而是一种试验资料的反映和归纳的观点。 相似文献
3.
Rancière's theorisation of police, politics, and aesthetics offers an illustrative framework to understand urban (re)developments. While extant works have examined separately the art of governing through aesthetics and the political subjectivities of those having no part in the frame of visibility and intelligibility, this study argues that hegemonic aesthetic regime and bottom-up aesthetic practices can be mutually constitutive and reside in relationships of co-existence and mutual negotiation. Drawing on over a decade's investigation in Enninglu, a neighbourhood district in Guangzhou that underwent several rounds of political struggles related to redevelopment and conservation, we reveal how local residents negotiated aesthetic norms enacted by the state. Particular attention is paid to the interactions between the aesthetic regime imposed by the state and grassroots people reclaiming their own aesthetic sensibilities, culminating in a contingent, inconclusive, and “impure” space of politics. Both political subjectivities and aesthetic norms are redefined ongoingly in this process. 相似文献
4.
古铜矿遗址围岩表层有害生物的防治 总被引:3,自引:0,他引:3
铜绿山古铜矿遗址地处长江中游地区、空气湿度大、围岩表层有害生物成片生长蔓延,对遗址的长期保护造成极大威胁。对此采取了改变遗址的环境条件、喷涂消杀药品的方法,消除了围岩表层有害生物的危害。经过一年半的观察表明该方法是可行的。 相似文献
5.
Jennifer M. Miller Elizabeth A. Sawchuk Amy L. R. Reedman Pamela R. Willoughby 《African Archaeological Review》2018,35(3):347-378
Shell beads are well established in the archaeological record of sub-Saharan Africa and appear as early as 75,000 BP; however, most research has focused on ostrich eggshell (OES) and various marine mollusc species. Beads made from various land snails shells (LSS), frequently described as Achatina, also appear to be widespread. Yet tracking their appearance and distribution is difficult because LSS beads are often intentionally or unintentionally lumped with OES beads, there are no directly dated examples, and bead reporting in general is highly variable in the archaeological literature. Nevertheless, Achatina and other potential cases of LSS beads are present at over 80 archaeological sites in at least eight countries, spanning the early Holocene to recent past. Here, we collate published cases and report on several more. We also present a new case from Magubike Rockshelter in southern Tanzania with the first directly dated LSS beads, which we use to illustrate methods for identifying LSS as a raw material. Despite the long history of OES bead production on the continent and the abundance of land snails available throughout the Pleistocene, LSS beads appear only in the late Holocene and are almost exclusively found in Iron Age contexts. We consider possible explanations for the late adoption of land snails as a raw material for beadmaking within the larger context of environmental, economic, and social processes in Holocene Africa. By highlighting the existence of these artifacts, we hope to facilitate more in-depth research on the timing, production, and distribution of LSS beads in African prehistory. 相似文献
6.
Rachel Ama Asaa Engmann 《African Archaeological Review》2018,35(3):379-391
Professor James Kwesi Anquandah was Ghana’s first archaeologist. He was also the first Ghanaian to become head of the Archaeology Department at the University of Ghana, which was the first archaeology department in sub-Saharan Africa, established in 1951. Dedicating his life to Ghanaian archaeology, particularly during the difficult years in Ghana in the 1980s and early 1990s, Anquandah had a significant impact on the development of archaeology in Ghana. In addition to his research, advisory and curatorial work, Professor Anquandah was instrumental in the training of three generations of Ghanaian archaeologists. During the course of a professional career that spanned nearly six decades, Professor Anquandah made archaeology relevant and accessible to all Ghanaians. 相似文献
7.
Rafael M. Martínez Sánchez Juan Carlos Vera Rodríguez Leonor Peña-Chocarro Youssef Bokbot Guillem Pérez Jordà Salvador Pardo-Gordó 《African Archaeological Review》2018,35(3):417-442
The period comprising the end of the Early Neolithic and the Middle Neolithic, dated broadly within the fifth millennium cal BC, corresponds to an interval that remains largely unknown in the extreme north-western tip of Africa. This situation contrasts with that of the Early Neolithic, a period characterised by the earliest evidence of the diffusion of a productive economy, cultivated plants and domestic animals. The paucity of data for these later phases can be explained in part by the lack of secure contexts and sequences based on radiocarbon datings of short-lived samples. The current study presents the results of the excavations of El-Khil Caves B and C that yield materials allowing re-evaluation of the chronology of a type of ceramic known as Ashakar ware. The study also identifies two traditions in the northern Moroccan Middle Neolithic. The first is heir to the so-called Impressa Mediterranean ware and rooted in the Cardial Neolithic, while the second is characterised by roulette cord impressions, red slip and tunnel lugs and probably rooted in the region of the Sahara, and has no technological precedents in the study area. 相似文献
8.
Diane Lyons Jeffrey Ferguson Diana Harlow Joanna Casey 《African Archaeological Review》2018,35(4):567-595
The study presents the results of neutron activation analysis (NAA) of contemporary pottery from Tigray Regional State, northern highland Ethiopia. This is the first regional-scale study of ceramic composition of Tigray’s pottery and is part of an ethnoarchaeological study of the material and social contexts of pottery production and consumption in Tigray’s Eastern (Misraqawi), Central (Mehakelegnaw), and North-western (Semien Mi’irabawi) zones. The analysis identifies clear compositional groups with strong regional patterns, an encouraging result for the use of NAA to study Tigray’s ancient pottery trade. Significantly, the study further contributes to discussions of how mutually constituted social identities of potters and consumers affect compositional patterning in the distribution of pottery in market networks. 相似文献
9.
Frank Winchell Michael Brass Andrea Manzo Alemseged Beldados Valentina Perna Charlene Murphy Chris Stevens Dorian Q. Fuller 《African Archaeological Review》2018,35(4):483-505
Four decades have passed since Harlan and Stemler (1976) proposed the eastern Sahelian zone as the most likely center of Sorghum bicolor domestication. Recently, new data on seed impressions on Butana Group pottery, from the fourth millennium BC in the southern Atbai region of the far eastern Sahelian Belt in Africa, show evidence for cultivation activities of sorghum displaying some domestication traits. Pennisetum glaucum may have been undergoing domestication shortly thereafter in the western Sahel, as finds of fully domesticated pearl millet are present in southeastern Mali by the second half of the third millennium BC, and present in eastern Sudan by the early second millennium BC. The dispersal of the latter to India took less than 1000 years according to present data. Here, we review the middle Holocene Sudanese archaeological data for the first time, to situate the origins and spread of these two native summer rainfall cereals in what is proposed to be their eastern Sahelian Sudan gateway to the Red Sea and the Indian Ocean trade. 相似文献
10.
Savino di Lernia 《African Archaeological Review》2018,35(2):299-319
First visited by westerners in the mid-nineteenth century, Saharan rock art has since received a great deal of attention. The richness and diversity of this region is recognised by the inclusion on the UNESCO World Heritage list of three properties: Tassili-n-Ajjer in Algeria, Tadrart Acacus in Libya, and Ennedi in Chad. The situation in many North African countries now makes this vast region very difficult to access: safety in the field is not guaranteed and few research funds are available. Today, a new generation of African and foreign scientists has no access to rock art sites in the north of the continent and the lack of fieldwork may entail a lack of safeguard and awareness. The growth of digital technologies over the last 15 years has revolutionised methods for recording rock art sites. Digital technologies are also used to mitigate the gap between artworks and accessibility in those countries where turmoil and social instability make fieldwork impossible. However, much of the documentation and most digital recordings of artworks currently available on the Internet lack an archaeological context. Equally, many of these websites barely mention methodological and theoretical aspects. It is also difficult to understand the extent of awareness among local communities in remote areas—sometimes suffering a digital and linguistic divide—and if (and how) they are genuinely able to exploit these digital resources. Here, I collate some examples from different parts of the Sahara illustrating that the recording, management and dissemination of rock art still present highs and lows. I argue that we should share theories and methods within the digital scientific community, with a view to adopting a shared nomenclature and a public thesaurus, making our cataloguing criteria explicit and, finally, developing an ethical code of conduct involving local communities. 相似文献