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1.
In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum.  相似文献   
2.
The present study compared secondary traumatization among child protection social workers versus social workers employed at social service departments. In addition, based on Conservation of Resources (COR) theory, the study examined the contribution of working in the field of child protection as well as the contribution of background variables, personal resources (mastery), and resources in the workers’ social and organizational environment (social support, effectiveness of supervision, and role stress) to secondary traumatization. The findings indicate that levels of mastery and years of work experience contributed negatively to secondary traumatization, whereas exposure to child maltreatment, trauma history, and role stress contributed positively to secondary traumatization. However, no significant contribution was found for social support and effectiveness of supervision. The study identifies factors that can prevent distress among professionals such as child protection workers, who are exposed to the trauma of child abuse victims. Recommendations are provided accordingly.  相似文献   
3.
《资料收集管理》2013,38(4):23-31
No abstract available for this article.  相似文献   
4.
Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material.  相似文献   
5.
Attitudes and approaches toward the collection, use, and care of color photographs have evolved enormously since the official arrival of commercially viable color photographic processes in the early twentieth century. This article traces the evolution of collection, exhibition, and preservation practices for works of art in color photography over the last few decades, as represented by one institution, The Metropolitan Museum of Art.  相似文献   
6.
INTRODUCTION The differential quadrature method (DQM) was proposed by Bellman and Casti as an analogous ex- tension of the quadrature method for integrals (Bellman and Casti, 1971; Bellman et al., 1972). It can be essentially expressed as the values of the de- rivatives at each grid point as weighted linear sums approximately of the function values at all grid points within the domain under consideration. As a distinct numerical solution technique to obtain the initial and/or boundary …  相似文献   
7.
Purpose: To describe the results of showing farmer learning videos through different types of volunteers.

Design/Methodology/Approach: Semi-structured interviews with volunteers from different occupational groups in Bangladesh, and a phone survey with 227 respondents.

Findings: Each occupational group acted differently. Shop keepers, tillage service providers, agricultural input and machine dealers reached fairly small audiences. Tea stall owners had large, male audiences. Non-governmental organisations and community-based organisations, reached more women. The cable TV (dish-line) operators showed the videos on local TV, but some were reluctant to do so again. The Union Information Service Centres showed the videos and reached women viewers. Half of the official government extension agents surveyed also showed the videos publically.

Practical Implication: This video featured maize, wheat and rice seeding machinery. Because the machinery is complex and requires hands-on training, this first video aimed to expose tillage and sowing service providers and farmers to the machinery, without trying to teach them how to use it. But some farmers were so interested that they watched the video many times to learn more about the equipment. Before farmers and service providers decide to buy machinery for direct seeding, they still want to see and learn from demonstration plantings, to examine first-hand how the crop behaves when planted with the new equipment.

Originality/Value: Video can be an effective way of sharing high-quality information with a large audience, if properly distributed.  相似文献   

8.
The present study dealt with the characterisation of marble surfaces coated by three kinds of polymeric material usually employed in stones conservation and with the evaluation of the removal of these coatings from the surfaces by means of new nanocontainer aqueous systems constituted of micellar solutions (MS) and oil-in-water microemulsions (MC). The polymeric coatings were also subjected to accelerated artificial ageing in order to detect possible effects associated to natural photochemical ageing. The aim of the work was the assessment of the performance of such nanocontainer aqueous systems taking acetone (Ac) as a reference “traditional” solvent for the removal procedure. The characterisation was carried out by means of Scanning Electron Microscopy (SEM) and Environmental Scanning Electron Microscopy (ESEM), Fourier Transform Infra-Red (FTIR) and Nuclear Magnetic Resonance (NMR) spectroscopies and the results obtained showed that the performance of these innovative methods based on nanocontainer aqueous systems can be considered highly promising in the view of a “green approach” to the conservation of cultural heritage.  相似文献   
9.
This paper reports the conclusions and recommendations of the working group that synthesized the discussions on ‘How can science connect with and be of greater benefit to conservation practice?’ during the ICCROM Forum on Conservation Science. The author reflects on these findings from her own perspective and experiences, and places them in the context of two major shifts in heritage research: the first, a shift in focus from conserving materials to managing meaning. The second, a shift in organizational structures from single, centrally funded heritage institutions towards diffuse networks which include new players who have no direct responsibility towards heritage. Both shifts are taking place in an environment of decreased funding and increased accountability to society. Science and conservation connect and contribute to each other most effectively if they together contribute to the societal benefits of heritage. In this regard, heritage science strategies can stimulate collaboration, and direct science and conservation towards innovative, applicable outcomes. Moreover, they can promote a transdisciplinary approach which connects social, economic and business sciences and stakeholders. They should also ensure the creation of sustainable nodes for consolidating knowledge within these dynamic networks.  相似文献   
10.
清洁发展机制是根据《京都议定书》建立的一种创新型国际合作机制,是发达国家和发展中国家的一种国际合作方式,发展清洁发展机制项目既有助于推进实现节能减排目标,也为减缓全球气候变化作出积极贡献。江西具有开展清洁发展机制项目的优势,应充分利用清洁发展机制,实现"十二五"规划节能减排目标。  相似文献   
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