全文获取类型
收费全文 | 3571篇 |
免费 | 115篇 |
国内免费 | 27篇 |
专业分类
管理学 | 8篇 |
民族学 | 67篇 |
人才学 | 1篇 |
人口学 | 7篇 |
丛书文集 | 495篇 |
理论方法论 | 121篇 |
综合类 | 2882篇 |
社会学 | 126篇 |
统计学 | 6篇 |
出版年
2024年 | 1篇 |
2023年 | 10篇 |
2022年 | 16篇 |
2021年 | 22篇 |
2020年 | 27篇 |
2019年 | 32篇 |
2018年 | 33篇 |
2017年 | 38篇 |
2016年 | 42篇 |
2015年 | 58篇 |
2014年 | 177篇 |
2013年 | 155篇 |
2012年 | 232篇 |
2011年 | 266篇 |
2010年 | 201篇 |
2009年 | 219篇 |
2008年 | 221篇 |
2007年 | 248篇 |
2006年 | 301篇 |
2005年 | 302篇 |
2004年 | 265篇 |
2003年 | 249篇 |
2002年 | 237篇 |
2001年 | 190篇 |
2000年 | 103篇 |
1999年 | 22篇 |
1998年 | 12篇 |
1997年 | 11篇 |
1996年 | 9篇 |
1995年 | 5篇 |
1994年 | 2篇 |
1993年 | 4篇 |
1992年 | 3篇 |
排序方式: 共有3713条查询结果,搜索用时 31 毫秒
1.
金影村 《云南大学学报(社会科学版)》2021,20(4):103-109
无论从美学史还是艺术史上看,美学与艺术始终保持着紧密联系。但是,当代艺术的骤变却走向了一条反对美学的道路。观念艺术和批判艺术均以推翻艺术自律为己任,颠覆了艺术与美学的基本关联。然而,1990年以来的艺术批评又开始呼唤回归美学。于是,在当代艺术批评领域形成了反对美学与回归美学分庭抗礼的局面。 相似文献
2.
文章运用实地考察法、文献搜集法,从公共艺术特性入手,通过南京牛首山佛顶宫的文脉、空间及其内外的装置以及人们在这样的宗教建筑环境中进行有关活动的分析研究,寻找公共艺术作品与场所的契合点。通过对契合点的阐释,希望对中国建筑艺术作品的公共艺术与场所精神研究提供一点参考,以期日后创作出更加成功的公共艺术与场所精神相结合的案例。 相似文献
3.
张幸荣 《盐城工学院学报(社会科学版)》2019,32(2):87-90
公共艺术与城市文化两者的关系十分密切,在城市整体形象建设中结合城市规划与建筑设计,注重公共艺术整体性设计,在城市公共空间与环境建设中融入公共艺术,能够实现城市历史与文化的良好传承,并将城市公共活动空间所具有的地域文化特色充分发挥。旨在对城市文化视角下的公共艺术整体性设计展开深入研究,并从整体性设计的城市文化、规划、建筑等多个层面进行深度解析。 相似文献
4.
Aboriginal and Torres Strait Islander employment policy and Welfare to Work: The Community Development Programme and the need for new narratives,new alliances and new institutions 下载免费PDF全文
Kirrily Jordan 《The Australian journal of social issues》2018,53(3):239-261
The way Australian federal governments have approached Aboriginal and Torres Strait Islander employment and welfare policy over the last two decades has been a paradigmatic example of what not to do in policymaking. In the absence of effective engagement or consultation, a series of decisions under Coalition and Australian Labor Party governments have had a range of negative consequences for Aboriginal and Torres Strait Islander peoples. These changes – centred around the closure of the Community Development Employment Projects (CDEP) scheme and implementation of the Community Development Programme (CDP) – have resulted in increased unemployment, inadequate support for job creation, a dramatic over‐application of income penalties to social security recipients and reduced capacity in many community organisations. This article argues that these outcomes constitute policy failure, especially given that genuine engagement with Aboriginal and Torres Strait Islander people could have prevented many of these consequences. It then turns to an exploration of three ways in which Aboriginal and Torres Strait Islander people are responding to such policy failure: through promotion of new narratives, new alliances, and new institutions. The study concludes that while we should avoid “specious hope”, there is room for optimism in a renewed push for Aboriginal and Torres Strait Islander sovereignty. 相似文献
5.
为了将体验式教学法应用到艺术类院校英语教学中,验证其可行性,并借以探索和完善艺术类院校英语教学模式,通过曹海英主编的《艺术学院大学英语基础教程》一、二册,对南京艺术学院2018级489名学生,分三大组,每组分设为甲乙班进行实验对照。结果表明,综合实验班获得了更好的教学效果,体验式教学法可应用于艺术类学生英语教学中。 相似文献
6.
Carlos Rivera-Santana 《Cultural Studies》2020,34(3):341-362
ABSTRACTOn 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics. 相似文献
7.
刘毅 《吉首大学学报(社会科学版)》2020,41(4):124-131
19世纪至20世纪初期是西方现代艺术学学科的重要建设时期。在此期间,诞生了以柏林学派、莱比锡学派与维也纳学派为代表的德语国家学术群体,以及一系列具有批评性、原创性与建构性的思想观念,从而在反思传统研究范式的基础上,逐步建设起具有现代意义的艺术学学科,形成了以艺术科学理念为核心,以历史研究与理论研究为论域,以形式主义分析与图像学研究为基础方法论的新研究范式。这一历史进程不仅是西方学术史与思想史的重要篇章,而且它所建构起的艺术学研究的现代学术体系及其学理依据与知识谱系也成为当代中国艺术学学科建设的重要参照。 相似文献
8.
Sarah E. K. Smith 《Comparative American Studies》2015,13(1-2):91-106
AbstractIn this essay, I suggest that artistic production provides valuable insights into the nature of the Canada-US border during the late-twentieth century when significant changes were occurring to dominant understandings of Canada in relation to North America. Focusing on the medium of video art, I trace the sustained engagement of Canadian contemporary artists to respond to and comment on the move towards continental integration through free trade. I contextualize my discussion in relation to trade developments that opened Canada’s border with the US, such as the 1989 implementation of the Canada-US Free Trade Agreement. This agreement, along with the later North American Free Trade Agreement, led to increasing continental integration at the end of the twentieth century, as well as hope for hemispheric integration with the subsequent negotiations towards the Free Trade Area of the Americas. With attention to works by Lisa Steele and Kim Tomczak, Eva Manly, and Clive Robertson, I foreground cultural contributions to redefining the Canada-US borderlands. Here, I chart the artists’ intention to echo narratives of the border’s porousness and address the power dynamics between the Canadian state and its trade partners. Examining themes of cultural imperialism, colonialism, and national identity, I point to the importance of cultural production in assessing the borderlands and, more broadly, histories of free trade in North America. 相似文献
9.
瓦尔特·本雅明指出,由史诗分裂形成的三种文体———故事、小说、新闻消息等随着时代变迁,在艺术场的位置发生相应的变化。传统艺术灵韵消失,机械复制时代的电影等新艺术形式展示了全新的艺术功能。在《小说的危机》《讲故事的人》和《机械复制时代的艺术》等篇章中,本雅明深入探讨了从故事、小说到新闻、电影的艺术链条上展示出来的艺术形式演变以及艺术和技术的关系,进而提出了他的艺术发展观,即一时代必然有一时代之艺术。他强调,技术进步影响并改变了各种艺术形式、接受方式及其功能,现代技术在艺术变革中的潜能因而是绝对不可忽视的。 相似文献
10.
范进军 《湖南工业大学学报(社会科学版)》2015,20(2):123-125
曹隽平的《抱朴求真》共四册,内容涉及书法作品、书法理论、艺术批评、收藏考据和采访交游等。其书法艺术作品华美而不乏骨力,流丽而不落甜俗,森严法度中呈现高雅,流畅秀逸中蕴含静气,表现了一种宁静、恬淡、细致、平和的静态之美。其书法理论宏观叙事与微观论证相结合,点面照应处理史料,让读者既能全面把握中国书法发展传承的宏观概貌,又能深入体察不同书家在书法史上的独特贡献。 相似文献