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101.
Thomas S. Greenspon 《Roeper Review》2013,35(3):176-181
Recent articles on the gifted self are characterized by theoretical confusion and lack of definitional clarity. This article, anchored in current self psychology theory, defines the self experience as the person's subjective experience of organization and meaning, the maintenance of which is crucial to normal functioning. Interactions with others are a formative part of the self experience. Traits of giftedness, and the reactions of others to these, contribute to the gifted self experience. Social and emotional problems of giftedness, such as those that arise with asynchronous development and perfectionism, are based on a compromised sense of cohesion and unity of the self experience. 相似文献
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In light of recent theories of meaningful media that suggest a host of psychological benefits, the present study uniquely extends the boundaries of the effects of reality TV from simply offering pleasure, diversion, and amusement to its viewers to also providing deep insight and meaning. In particular, a between-subjects experiment (N = 143) examined differences in affective, cognitive, and motivational responses to lifestyle transforming versus game based reality programs. Findings indicate that lifestyle transforming reality TV produced stronger feelings of elevation and perceptions of the program as moving and thought-provoking than game reality TV, which in turn increased motivations for altruism. Avenues for future research and theoretical implications of meaningful and inspiring reality TV for positive psychology are discussed. 相似文献
108.
V. K. Wadhawan 《Resonance》2005,10(11):27-41
A structure is an assembly that serves an engineering function. It is reasonable to expect that all engineering design should
be smart, and not dumb. But one can still make a distinction between smartly designed structures and smart structures. The
latter term has acquired a specific technical meaning over the last few decades. A smart structure is that which has the ability
to respond adaptively in a pre-designed useful and efficient manner to changes in environmental conditions, including any
changes in its own condition; the response is adaptive in the sense that two or more stimuli or inputs may be received as
anticipated and yet there is a single response function as per design. Smartness ensures that the structure gives optimum
performance under a variety of environmental conditions. While structures with some degree of smartness have been designed
from times immemorial, the current activity and excitement in this field derives its impetus from the level of sophistication
achieved in materials science, information technology, measurement science, sensors, actuators, signal processing, nanotechnology,
cybernetics, artificial intelligence, and biomimetics. 相似文献
109.
Birgit Angelika Schmidt Martin Andreas Ziemann Simone Pentzien Toralf Gabsch Werner Koch Jörg Krüger 《文物保护研究》2016,61(2):113-122
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified. 相似文献
110.
Comparison of oil and egg tempera paint systems using time-of-flight secondary ion mass spectrometry
Zachary E. Voras Kristin deGhetaldi Brian Baade Eric Gordon Glenn Gates Thomas P. Beebe 《文物保护研究》2016,61(4):222-235
Time-of-flight secondary ion mass spectrometry (ToF-SIMS) is quickly becoming a critical tool in the field of art conservation. This technique provides high-resolution spatial maps of both inorganic and organic components located within cross-sectional samples collected from works of art. With recent advances in surface analysis, ToF-SIMS can now be used to identify specific amino acids present in protein-containing materials as well as fatty acids in drying oils. For example, the detection of the ion fragment associated with the amino acid hydroxyproline can be used to confirm the use of animal glue in a paint sample. As an analytical technique, ToF-SIMS avoids the need for derivatization/silylation reagents, with no interference by the presence of pigments. Furthermore, the layered systems that are often encountered in historical paint samples remain intact throughout the analytical procedure. This allows for the co-localization of organic and inorganic species in specific layers (e.g. egg yolk paint atop a glue ground). Because of this ability to localize the analytical signal to approximately 6?µm or less, the mass spectral information can be used to produce mass-resolved and spatially-resolve images which can be correlated to previous studies of the same samples. In this study, ToF-SIMS was used to analyze a paint cross section obtained from a painting attributed to Raphael, and another from a painting by the Sienese artist Matteo di Giovanni. 相似文献