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PETER OCHS 《Modern Theology》2006,22(3):465-482
Addressing readers who are already acquainted with the practices of Scriptural Reasoning (SR), this essay offers a logical strategy for warranting and testing such practices as well as all postmodern criticisms of modern inquiry. The strategy is to distinguish the logic of suffering, which is reducible to the binary terms of propositional logic, from the logic of repair, which is not. The essay argues that, if reduced to such binary terms, efforts at repair become inadvertent acts of oppression, or acts that produce suffering. The essay concludes that postmodern and postliberal theorists become inadvertent oppressors when their attempts to repair modern inquiry are presented through propositional logics. The practice of SR should be irreducible to such logics. 相似文献
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PETER J. LEITHART 《Modern Theology》2010,26(2):197-219
Sociologists and theologians have both devoted considerable attention and energy to time, but the two rarely speak to one another. Sociologists investigate the effects of clock time, railway schedules, and calendars on culture, while theologians examine God's relation to time, usually the time of physics. The neglected German‐American thinker Eugen Rosenstock‐Huessy can help to bridge this gap. In his historical work, he paid particular attention to the role of rituals and calendars in shaping time, but he was also a Christian thinker who confessed that Jesus Christ brought in the “fullness of time.” This article considers some aspects of Rosenstock‐Huessy's rich account of time in the hopes that both theologians and sociologists, but especially theologians with sociological interests, will find his insights fruitful and mine them further for the productive possibilities. 相似文献
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RUSSELL A. CARLETON PATRICIA ESPARZA PETER J. THAXTER KATHRYN E. GRANT 《Journal for the scientific study of religion》2008,47(1):113-121
We surveyed low-income urban adolescents about their total exposure to urban stressors and their use of religious coping resources, specifically in the areas of social support, spiritual support, and community service opportunities provided by their congregations. Additionally, we assessed their current levels of depressive symptomatology. Among females, the relationship between stress and depressive symptoms was moderated by the use of spiritual support and community service opportunities. The moderating relationship was such that at low levels of stress, high usage of these resources protected against the development of depressive symptoms. At high levels of stress, however, the protective relationship was lost. Lastly, when the social support aspects of religious coping were statistically controlled, the moderation effect disappeared, suggesting that within this sample, the social support seeking aspects of the resources, rather than their religious nature, was responsible for the effects. 相似文献
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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