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31.
Ana Grujić 《Women & Performance》2013,23(2):146-161
In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma. 相似文献
32.
Alex Pittman 《Women & Performance》2013,23(2):178-192
In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness. 相似文献
33.
Anna Dezeuze 《Women & Performance》2013,23(2):226-247
Economic booms and busts, major social upheavals, brutal military dictatorships: precariousness has been a feature of everyday life in Latin America since its independence. But what does it mean to “propose precariousness as a new idea of existence,” as Brazilian artist Lygia Clark did in 1966? This essay focuses on one specific work by Clark, her 1963 Caminhando, in order to explore the ways in which the very status of performative practices can respond to their social and political conditions and thus offer a model for a subjective experience of precariousness in everyday life. A close study of the process that led Clark to create precarious works will be further supplemented by a contextual analysis of debates about precariousness and adversity within the Tropicalist movement that emerged in late-1960s Brazil, which included artist Hélio Oiticica as well as singers and film-makers. 相似文献
34.
Vivian L. Huang 《Women & Performance》2013,23(3):187-203
With interest in queer socialities, the author considers Jacques Derrida’s provocation in Of Hospitality to “say yes” as hospitable gesture in order to challenge the gendered and racialized demands of this charge. If Orientalist conflations of the East with femininity have in turn sexualized Asian women as simultaneously hypersexual and submissive, then how can we as viewers and readers performatively read Asian femininity in a different, and not anti-relational, orientation to hospitality? Building upon Anna Watkins Fisher’s concept of parasitic performance, this article posits inscrutability as a feminist methodology by considering Yoko Ono’s performances of Cut Piece and Laurel Nakadate’s video Happy Birthday for their interesting solicitations to audience-participants, costars, and viewers. 相似文献
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上世纪50年代以来,《背影》遭到种种责难和非议,似乎正与社会主流意识形态和新教育理念渐行渐远。认真阅读并正确解析《背影》,除了能欣赏到朱自清精湛的散文艺术,或许还会对弘扬我们民族的优良传统、升华我们的人生准则产生积极的影响。 相似文献
38.
作为一个文学和美术结合的艺术种类,台湾绘本文体具有借助图画进行具象表达的文学修辞手段,其文本通过线条、色彩与语言结合的符号系统和技术手段实现了意义象征,其中的配图文字具有超逸于说明文字的文学功能。自1980年以降,当代台湾绘本艺术已成为一种流行娱乐文化,此种台湾绘本文化现象具有消费文化的特征,是消费社会里适合大众审美心理和现代社会文化传播及市场运营机制的成功创意范例。 相似文献
39.
法律作为一个变量在不同的社会关系中具有较大的差异。而在法律分布数量较少或不均衡的地方,恰恰是民间法生存与发展的空间。这就决定了民间法与国家法既有相协调的一面,又有相矛盾的一面。因此,在法治建设中应当谨慎权衡,尽可能的消除规范适用中的冲突,从而实现法律的和谐。 相似文献
40.
周志慧 《中华女子学院山东分院学报》2006,(3):90-93
随着中国改革开放进程的加快,民间传统文化得以复兴且不断发展。洛川县灯棚会与民间信仰的结合是地方乡土民俗的一种特殊形式。灯棚会中相关信仰活动、灯会组织原则及村落互动现象,都是分析民间仪式活动复兴的原因及其产生影响的依据。 相似文献