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71.
72.
A clarification of Husserl's changing conceptions of imaginary consciousness (phantasy) and memory, especially at the level of auto-affective time-consciousness, suggests an interpretation of Freud's concept of the Unconscious. Phenomenology of consciousness can show how it is possible that consciousness can bring to present appearance something unconscious, that is, something foreign or absent to consciousness, without incorporating it into or subordinating it to the conscious present. This phenomenological analysis of Freud's concept of the Unconscious leads to a partial critique of Freud's metapsychological determination of the Unconscious as a simple, internally unperceived representational consciousness. It also suggests an account of how a reproductive inner consciousness can free the subject from the experience of anxiety by allowing for possibilities of self-distanciation and symbolic self-representation that protect the subject from traumatic affection by and through its own instinctual drives. 相似文献
73.
Returning the tables: language affects spatial reasoning 总被引:8,自引:0,他引:8
Li and Gleitman (Turning the tables: language and spatial reasoning. Cognition, in press) seek to undermine a large-scale cross-cultural comparison of spatial language and cognition which claims to have demonstrated that language and conceptual coding in the spatial domain covary (see, for example, Space in language and cognition: explorations in linguistic diversity. Cambridge: Cambridge University Press, in press; Language 74 (1998) 557): the most plausible interpretation is that different languages induce distinct conceptual codings. Arguing against this, Li and Gleitman attempt to show that in an American student population they can obtain any of the relevant conceptual codings just by varying spatial cues, holding language constant. They then argue that our findings are better interpreted in terms of ecologically-induced distinct cognitive styles reflected in language. Linguistic coding, they argue, has no causal effects on non-linguistic thinking--it simply reflects antecedently existing conceptual distinctions. We here show that Li and Gleitman did not make a crucial distinction between frames of spatial reference relevant to our line of research. We report a series of experiments designed to show that they have, as a consequence, misinterpreted the results of their own experiments, which are in fact in line with our hypothesis. Their attempts to reinterpret the large cross-cultural study, and to enlist support from animal and infant studies, fail for the same reasons. We further try to discern exactly what theory drives their presumption that language can have no cognitive efficacy, and conclude that their position is undermined by a wide range of considerations. 相似文献
74.
75.
Jürgen Nicolai Christina Gundacker Katharina Teeselink Hans Rudolf Güttinger 《Animal cognition》2014,17(1):143-155
We studied human melody perception and production in a songbird in the light of current concepts from the cognitive neuroscience of music. Bullfinches are the species best known for learning melodies from human teachers. The study is based on the historical data of 15 bullfinches, raised by 3 different human tutors and studied later by Jürgen Nicolai (JN) in the period 1967–1975. These hand-raised bullfinches learned human folk melodies (sequences of 20–50 notes) accurately. The tutoring was interactive and variable, starting before fledging and JN continued it later throughout the birds’ lives. All 15 bullfinches learned to sing alternately melody modules with JN (alternate singing). We focus on the aspects of note sequencing and timing studying song variability when singing the learned melody alone and the accuracy of listening-singing interactions during alternatively singing with JN by analyzing song recordings of 5 different males. The following results were obtained as follows: (1) Sequencing: The note sequence variability when singing alone suggests that the bullfinches retrieve the note sequence from the memory as different sets of note groups (=modules), as chunks (sensu Miller in Psychol Rev 63:81–87, 1956). (2) Auditory–motor interactions, the coupling of listening and singing the human melody: Alternate singing provides insights into the bird’s brain melody processing from listening to the actually whistled part of the human melody by JN to the bird’s own accurately singing the consecutive parts. We document how variable and correctly bullfinches and JN alternated in their singing the note sequences. Alternate singing demonstrates that melody-singing bullfinches did not only follow attentively the just whistled note contribution of the human by auditory feedback, but also could synchronously anticipate singing the consecutive part of the learned melody. These data suggest that both listening and singing may depend on a single learned human melody representation (=coupling between perception and production). 相似文献
76.
77.
Rudolf Carnap 《Erkenntnis》1930,1(1):303-307
Ohne Zusammenfassung
Da die Untersuchungen an anderer Stelle in ausführlicher Darstellung ver?ffentlicht werden sollen, seien hier nur die wichtigsten
Definitionen und Ergebnisse ohne Angabe der Beweise zusammengestellt. 相似文献
78.
Rudolf Carnap 《Erkenntnis》1931,2(1):91-105
Ohne Zusammenfassung 相似文献
79.
80.
Rutter B Kröger S Stark R Schweckendiek J Windmann S Hermann C Abraham A 《Brain and cognition》2012,78(2):114-122
Creativity has emerged in the focus of neurocognitive research in the past decade. However, a heterogeneous pattern of brain areas has been implicated as underpinning the neural correlates of creativity. One explanation for these divergent findings lies in the fact that creativity is not usually investigated in terms of its many underlying cognitive processes. The present fMRI study focuses on the neural correlates of conceptual expansion, a central component of all creative processes. The study aims to avoid pitfalls of previous fMRI studies on creativity by employing a novel paradigm. Participants were presented with phrases and made judgments regarding both the unusualness and the appropriateness of the stimuli, corresponding to the two defining criteria of creativity. According to their respective evaluation, three subject-determined experimental conditions were obtained. Phrases judged as both unusual and appropriate were classified as indicating conceptual expansion in participants. The findings reveal the involvement of frontal and temporal regions when engaging in passive conceptual expansion as opposed to the information processing of mere unusualness (novelty) or appropriateness (relevance). Taking this new experimental approach to uncover specific processes involved in creative cognition revealed that frontal and temporal regions known to be involved in semantic cognition and relational reasoning play a role in passive conceptual expansion. Adopting a different vantage point on the investigation of creativity would allow for critical advances in future research on this topic. 相似文献