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391.
PAUL G. TYSON 《Modern Theology》2008,24(2):245-270
Where epistemology and transcendence are considered compatible, three approaches to truth are pursued. A Platonist approach sees true human knowledge as embedded in, and dependent on, transcendence; a neoplatonist Aristotelian approach remains Platonic in the above sense, and then sees ‘natural’ human knowledge as providing valid grounds for limited speculative knowledge about divine truths; proto‐modern Aristotelianism, however, approaches transcendence from an inherently naturalistic stance. This article endeavours to trace the collapse of metaphysical confidence inherent in the trajectory of modern epistemological foundationalism, through proto‐modern Aristotelianism, and suggests that post‐secular Christian Platonism can return a valid metaphysical confidence to us. 相似文献
392.
PETER PAUL MOORMANN 《创造性行为杂志》2006,40(4):265-287
Fifty‐eight figure skating trainers from fifteen different countries acted as volunteers in this study on choreography styles. The styles were based on reports of artistic‐creative strategies in composing music, drawing, writing poems or novels, and in making dances. The prevalence of the Mozartian (at the onset the choreographer already has a more or less complete plan in mind), Beethovenian (the choreographer does not start with a complete plan, but instead focuses on a succession of single and detailed elements) and Avant‐garde Style (instead of starting from the music, as the impulse for creating movements, trainers choreograph straight from movement ideas) is 77.2%, 56.4%, and 16.1% respectively. The results from a CATPCA reveal that the features, associated with the three choreography styles have loadings on two dimensions, one representing features predominantly belonging to primary process thinking (Mozartian), the other representing features predominantly related to secondary process thinking (Beethovenian and Avant‐Garde). In the discussion attention is paid to 1) why the Mozartian and Beethovenian are more popular than the AvantGarde Style, to 2) the universal quality of artistic‐creative styles in a wide range of artistic endeavors, and to 3) the differences between elite, runner‐up, and novice trainers on experience, on using the assistance of a professional choreographer, and on using the Avant‐Garde Style. 相似文献
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PAUL De HART 《Modern Theology》2010,26(2):243-277
The article investigates an important recent dispute within systematic theology over the interpretation of Thomas Aquinas. John Milbank has defended the view that the doctrine of analogy in Aquinas is peculiarly implicated with his entire ontology, that it cannot be understood in merely semantic terms, and that it involves a less “agnostic” position on knowledge of God than is often assumed. The article critically engages this position in two ways. It offers an archaeology of the prior polemical context out of which the claim arose, for the meaning and purpose of Milbank's claim are illuminated once it is seen as the vigorous repudiation of a “grammatical” or “linguistic” interpretation of Thomas on analogy which had been proffered earlier by Nicholas Lash. It will also provide a close investigation of the citations and interpretations of Aquinas texts that Milbank uses to ground his position, in order to adjudicate the dispute with Lash. The result will be to call strongly into question the plausibility of Milbank's readings of Aquinas. The article also indicates at several points the way in which those readings are shaped by an overriding anti‐Kantian thrust in Milbank's entire approach to the discussion. In conclusion, it adumbrates the larger and older question which subtends the entire dispute: to what degree is some kind of vision or intuitive grasp of being as such, or of God's being, granted human beings in this life? 相似文献
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PAUL GREGORY 《Journal of applied philosophy》1986,3(2):229-233
Abstract The kind of love under consideration here is that between equal persons as it typically occurs within the context of a friendship. It is assumed that love opens the way to a sense of meaning or purpose for the individual, the difficulty addressed being that of how to pursue or recognise love. Is it primarily a form of action or of feeling? Can love be said to consist of giving? How does love relate to freedom and dependence? The consideration of these questions leads to the argument that love necessarily involves the creation of needs and therefore of vulnerability. The essay closes with a conception of how the conflict between love as action and love as feeling (‘the two sides of love’) may be resolved. 相似文献
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