全文获取类型
收费全文 | 150篇 |
免费 | 8篇 |
出版年
2018年 | 3篇 |
2017年 | 2篇 |
2015年 | 3篇 |
2014年 | 1篇 |
2013年 | 2篇 |
2012年 | 6篇 |
2011年 | 9篇 |
2010年 | 7篇 |
2009年 | 4篇 |
2008年 | 6篇 |
2007年 | 5篇 |
2006年 | 7篇 |
2005年 | 7篇 |
2004年 | 4篇 |
2003年 | 3篇 |
2002年 | 3篇 |
2001年 | 2篇 |
2000年 | 6篇 |
1999年 | 1篇 |
1998年 | 2篇 |
1997年 | 3篇 |
1996年 | 3篇 |
1995年 | 2篇 |
1994年 | 1篇 |
1992年 | 1篇 |
1991年 | 2篇 |
1990年 | 5篇 |
1989年 | 1篇 |
1988年 | 2篇 |
1987年 | 2篇 |
1986年 | 4篇 |
1984年 | 4篇 |
1982年 | 5篇 |
1977年 | 1篇 |
1972年 | 1篇 |
1971年 | 1篇 |
1966年 | 1篇 |
1961年 | 1篇 |
1959年 | 5篇 |
1958年 | 3篇 |
1957年 | 4篇 |
1956年 | 3篇 |
1955年 | 3篇 |
1954年 | 4篇 |
1953年 | 3篇 |
1952年 | 3篇 |
1951年 | 2篇 |
1950年 | 1篇 |
1949年 | 1篇 |
1948年 | 1篇 |
排序方式: 共有158条查询结果,搜索用时 0 毫秒
101.
102.
103.
ESTEVAM VAZ DE LIMA 《The International journal of psycho-analysis》2002,83(1):121-135
The author discusses the role of non‐discursive expressive elements in the construction of the analytical situation, using three examples to illustrate the problems with which he is concerned. His claim is that the issue in question necessarily involves the subject of affects, and he proceeds to discuss the difficulties associated with this subject. In addition, he considers the contributions of Green and Imbasciati, and Kleinian developments of this theme, including also the contributions of Bion—in particular the latter's theories concerning thought, in which emotion comes to assume an essential place in the origin of thinking. The author resumes the discussion by taking up his clinical examples, using them to put forward the view that non‐discursive expressive elements may well play a decisive role in the construction of meaning in the analytical situation. He suggests also that the meaning of an emotional experience may be thought of as a construction contributed to by a number of symbolic forms which both interfere with and interact with the symbolic system of language. Following examination of his third example, the author reflects on ‘musicality’, a notion sometimes referred to informally in clinical data in connection with the ‘emotional climate’ of the session. He proposes that the complex problem of meaning in music be extended to cover the construction of meaning in the psychoanalytic setting, and in so doing returns to ideas put forward by Suzanne Langer. His underlying view here is that essential elements of the musical phenomenon and essential elements of particular forms of emotional life give rise to the same emotional matrices—perhaps to what Meltzer calls ‘musical deep grammar’. Finally, the author considers various symbolic forms that contribute to the particular configuration of analytical situations, suggesting that the mental condition of ‘free‐floating attention’ requires the broad availability to the analyst's mind of a multiplicity of symbolic forms, his conversion of these into new expressions of meaning, and the possibility of their verbal communication by him to the patient. 相似文献
104.
Among the Dark Triad traits (psychopathy, narcissism, and Machiavellianism), Machiavellianism is uniquely associated with flexibility. This flexibility should result in the use of aggressive short‐term tactics only when they do not interfere with long‐term goals. Study 1 found that individuals high in Machiavellianism differed from those high in psychopathy with respect to retrospective accounts of negative mate retention tactics. Study 2 found an interaction between Machiavellianism and relationship type such that individuals high in Machiavellianism tempered the use of negative tactics for long‐term (but not short‐term) relationships. The findings highlight the flexibility of the Machiavellianism construct and its relevance to mating strategies among the Dark Triad. 相似文献
105.
Abstract: Does democracy or popular sovereignty imply exclusion and drawing borders? And if so, what type of exclusion and borders, and what kind of justification can we give for them? Moreover, if democracy really requires some kind of exclusion, is global democracy then a paradoxical union of two contradictory ideals? Can we create a demos on the global level? The focus of this collection of essays is on this potential conflict and its underlying values. 相似文献
106.
107.
108.
Creativity and Creative Problem Solving are globally important. This study examined the cross‐cultural applicability of creative problem solving styles by translating VIEW: An Assessment of Problem Solving Style from its native English into Dutch and examining its psychometric properties and preliminary validation evidence. In general, support was found for the Dutch translation of VIEW in that it performed similarly to its original with regard to item performance on factor analysis, had acceptable levels of internal consistency and stability over time, and correlated in a similar manner with two alternative measures of style. Implications for future translations were identified. 相似文献
109.
This paper offers an analysis of scientific creativity based on theoretical models and experimental results of the cognitive sciences. Its core idea is that scientific creativity — like other forms of creativity — is structured and constrained by prior ontological expectations. Analogies provide scientists with a powerful epistemic tool to overcome these constraints. While current research on analogies in scientific understanding focuses on near analogies, where target and source domain are close, we argue that distant analogies — where target and source domain differ widely — are especially useful in periods of intense conceptual change. To argue this point, we discuss three case studies from the history of science: early physiologists like Harvey, early evolutionary biologists like Darwin, and recent theorists on the evolution of the human mind like Mithen. 相似文献
110.
HENT
DE VRIES 《Modern Theology》2011,27(3):462-477
What to make of “the ordinary,”“the everyday,” and their common “eventfulness”? What to think of what Veena Das, in her recent book Life and Words, prefaced by Stanley Cavell, has called our need to “descent into the ordinary”? Is there a parallel figure of “ascent,” again, into the same “ordinary,” that we might we want to juxtapose with it and that resembles the motif of “change,” even “conversion,” that Cavell analyzes at some length in The Claim of Reason and throughout his oeuvre as a whole? And what could be our reasons for doing so? This essay will draw on Cavell's reading of Ibsen's work in the volume Cities of Words to spell out what such an “ascent” might mean. 相似文献