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111.
Grounded in the interdisciplinary educational work of Cultural Studies, this paper examines the pedagogical potentials of narrative and performance for the teaching of writing as a mode of public discourse. Guided to address a wide readership, students engage in critical communication aimed at linking self inquiry and narrative discourse to the contextual analysis of the social. Drawing on research findings derived from the undergraduate teaching of cultural criticism as a genre of public writing at Lingnan University, Hong Kong, we look at how educational drama mediates the work of narrative and performative acts involving the young learner-writers and contributes to the shaping of a dialogic mode of address and communication, thus articulating the process and impact of writing to the public-oriented discourse in Cultural Studies education. In light of such acts in critical discourse and imagination targeted at the potential reader, we show how the young writers' own engagement with critical thinking and communication are opened up by drama-in-education adopted in the class, and argue how, in this sense, both writing and its learning process become effective stages in the making of the kind of cultural criticism we want to help students to learn. 相似文献
112.
Eric Ma 《Inter-Asia Cultural Studies》2013,14(2):187-200
The paper attempts to work out the link between the structuring of the public domain and hegemonic masculinities in contemporary Kerala, South India. Using the debates around an incident of sexual harassment that happened in 1999, it argues for a conjunctural understanding of the contemporary where various events and moments in history are replayed through narrativization and popular memory. The paper goes on to analyse the debates around the incident that produce a ‘narrative public domain’, to foreground the various notions of masculinity that construct and structure it in relation to notions of female sexuality and changing structures of family. These notions of masculinity could be, the paper argues, a starting point for a historical inquiry into Kerala's modernity – an inquiry that would throw light on the past and the ways in which the contemporary is produced through its historical legacies. 相似文献
113.
Chang Briankle G. 《Inter-Asia Cultural Studies》2013,14(3):483-486
ABSTRACTMarie-Jose Mondzain is one of the major philosophers writing about image, iconography, and representation today. In this interview, she discusses a few of the central ideas in her approach to and thinking about the nature of image and image-making as they bear upon the emergence of subjectivity and visibility in general. According to Mondzain, images are not visual objects we may or may not see; rather they are the site where the visible and its invisibility crisscross each other in opening the field of presence. Images, as Mondzain says in the interview, are cracks or leaks in being. They are where lights first come in and where man and beings are born to each other in their being-in-the world, that is, in their truth. Moving beyond historical and theoretical reflections, Mondzain turns to discuss things and scenes of mass media of late, addressing issues of pleasure, anxiety, desire, and the like, wherein ideologies, power, and the lure of images can be seen to intersect with our everyday life that has become irrevocably one of passive mobility. To the point at every turn, her answers to questions in this interview provide a glimpse to her forceful thinking and insights. 相似文献
114.
Lynn Abrams 《Cultural and Social History》2013,10(2):205-224
ABSTRACTThis article proposes a triple legacy of the expressive culture of the 1960s and 70s. Late twentieth century feminism, discourses of gender equality and the advent of modern confessional culture liberated women’s women’s voices, producing self-realising narratives and a shift in women’s facility to produce authentic ‘reflexive projects of the self’. Drawing on oral history interviews with women born in the 1940s in the United Kingdom, Australia and North America, a new concept for a distinct genre of women’s oral history narrative is advanced– the feminography – in which we hear women owning their voices and the stories those voices tell. 相似文献
115.
《Cultural and Social History》2013,10(4):423-435
ABSTRACTThis article examines the narratives of three political prisoners transported to New South Wales and Van Diemen's Land: the French-Canadian François-Xavier Prieur, the American Linus Miller, and the Irishman John Mitchel. It shows that the three ‘politicals’ sought to portray the suffering of political convicts as greater than that of the convict majority, from which they distanced themselves in terms of class, piety and honour. It also demonstrates how the three men critiqued the British Empire and the convict system in Australia, how they wrote (in some instances, re-wrote) their lives for their audience, and how they defined themselves in the convict colonies. 相似文献
116.
刘志向 《金华职业技术学院学报》2012,(4):71-73
金庸小说大部分采用全知视角来叙事。通过全知视角作者带领读者进入一个瑰丽无比的武侠世界。利用全知视角的叙事特点,作者全面掌控故事,或向读者做出详尽的解释和评价,或留有伏笔做铺垫,予取予夺,尽在自己的掌握之中。这种叙事策略在吸引读者的阅读兴趣上取得了非凡的效果。 相似文献
117.
王建茹 《石家庄职业技术学院学报》2006,18(3):24-27
由于长期闭关锁国所造成的封闭性,公案小说并没有学习到西方文学中先进的叙事技巧,而是在延续着传统古典小说的基本模式,长期以来停留在一个表面的、感性的层面。为了适应这种叙事模式,浓重的封建迷信思想、对故事情节的高度重视及对人物性格塑造的压制和漠视等叙事性因素都被纳入到这个轨道之中。 相似文献
118.
王荣 《陕西师范大学学报(哲学社会科学版)》2002,31(6):70-77
19世纪末 2 0世纪初及新文学运动前后 ,是中国叙事诗艺术由古典向现代形态演进的关键时期。西方叙事诗学及其文学的影响与中国抒情文学中心地位的式微 ,使当时的”新体”叙事诗创作及其理论批评 ,呈现出新的创作形态与艺术追求。五四新文学运动前后“白话叙事诗”及其创作形态的出现 ,为中国叙事诗艺术现代文体类型的确立与理论批评体系的重构 ,规定了基本的发展趋向 相似文献
119.
孙晓青 《阜阳师范学院学报(社会科学版)》2007,(4):17-19,28
薇拉.凯瑟在创作上经常进行大胆尝试而使其作品具有独特的叙述魅力。她继承了现实主义的优良传统,但又敢于突破传统小说的旧框架,将主观情感融入客观现实,引入印象主义技巧,以及运用内化的叙述视角而使其作品独具风格,体现出由传统向现代的走向。 相似文献
120.