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131.
Open enrollment and walk-in advising at two-year colleges make placement assessment a continual, year-round process, effectively prohibiting the use of placement processes like entrance portfolios. On the grounds of expediency, many two-year institutions have turned to computerized editing tests such as COMPASS for placing entering students into writing courses, even though such tests do not directly measure writing. Forgoing placement assessment entirely through directed student self-placement, such as that described by Royer and Gilles, has also become an attractive alternative for some institutions. Beginning with the premise that assessment is a rhetorical act, the authors describe their reasons for resisting computer editing tests and suggest possible problems with using only directed student self-placement in open access institutions. They then describe a placement process, the Writer's Profile, which they developed. A sample student profile is presented to illustrate the interaction and negotiation among writing teachers as they read profiles and reach an agreement about their placement recommendation. The authors argue that the form of assessment chosen is important because as a rhetorical act assessment affects curriculum, pedagogy, faculty development, and even the surrounding community's expectations and perceptions of college writing. 相似文献
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This paper draws on data relating to the field of business studies from four Western Australian universities to illustrate differences between institutions in the Australian Unified National System (UNS) of Universities. Large differences exist between universities in the input characteristics of students which may be expected to affect student progress and presumably student outcomes. These differences have implications for issues like credit transfer where the transferring student may have come from an institution with a much lower entry criterion and presumably different learning culture. 相似文献
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In this response to Waghid (2000) the authorsquestion the validity of conclusions reachedfrom an examination of the proceedings of anengineering education conference in SouthAfrica. The authors argue that these papersdo not represent the views of engineeringeducators in general. Furthermore they querythe way in which Waghid uses reference toteaching methods in these papers to deduce thetheoretical perspective of the presenters. Itis suggested that the views of the educatorsinvolved in this conference and others like itin South Africa, can be characterised asfalling within a broad interpretivist(constructivist) perspective. Finally, theauthors agree that an engagement with acritical perspective would contributesignificantly to the transformation of theculture of engineering education in SouthAfrica. 相似文献
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Jeff Adams 《The International Journal of Art & Design Education》2019,38(2):274-279
At a time of endemic xenophobia some artists have attempted to resist this trend by depicting its damaging consequences, revealing the inequalities that fuel its disfigurement of human relations and result in mass human displacement. Paul Dash's recent paintings of refugees attempting dangerous and degrading sea crossings are the main subject of this article, and these works are discussed in the context of his negative educational experiences as a child, and his salvation through painting in the sanctuary of his school's art room. This school experience and the trajectory of his artistic career are contextualised by the current marginalisation of the arts in the curriculum and the increasing scarcity of critical and creative approaches to education. 相似文献
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Tara Page Steve Herne Paul Dash Helen Charman Dennis Atkinson Jeff Adams 《The International Journal of Art & Design Education》2006,25(2):146-155
The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated. 相似文献
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