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41.
Aaron H. Esman 《The International journal of psycho-analysis》2004,85(4):923-933
Ernst Kris, a gifted art historian as well as an eminent psychoanalyst, had little regard for the aesthetic value of the spontaneous artistic products of the mentally ill, considering them to be of interest only for the insight they might provide about the patient's psychopathology and unconscious conflicts. Recent scholarship and developments in the art world warrant a critical review of his position, which appears to have derived from his adherence to classical and Renaissance criteria. The works of two untrained and psychiatrically disturbed artists are offered as evidence of their potential aesthetic worth. 相似文献
42.
绘画艺术疗法在欧美地区已经得到广泛的应用,成为了心理咨询与治疗的主要技术之一,但在我国是近10年来才开始兴起。绘画艺术疗法作为一种独特的心理治疗手段,在精神分裂症、抑郁症、儿童孤独症、癌症等其他临床疾病的治疗过程均有着独特的疗效。本文将从其理论和作用机制、临床应用现状及应用前景等方面进行阐述。 相似文献
43.
This paper explores the narratives of three women aged 65–72 years. They reflected on an episode of therapeutic art-making in midlife, which addressed depression associated with marital crisis and breakdown. The narrative analysis focused upon on the ways in which participants narrated the events leading up to their participation in therapeutic art-making; the aspects of therapeutic art-making that continued to be given significance; the characters given primacy in the stories they told about their journey through therapy and marital breakdown; meanings, symbolic and otherwise, that participants ascribed to their artwork made during this turning point in their lives; and aspects of the narratives that conveyed present-day identities and artistic endeavors. The narratives revealed the complexity of the journey through marital breakdown and depression into health, and showed that therapeutic art-making could best be understood, not as a stand-alone experience, but as given meaning within the context of wider personal and social resources. Participants looked back on therapeutic art-making that occurred two decades earlier and still described this as a significant turning point in their personal development. Art as an adjunct to counselling/therapy was not only symbolically self-expressive but provided opportunity for decision-making, agency and a reformulated self-image. 相似文献
44.
Russell H. Tuttle 《Zygon》2006,41(1):139-168
Abstract. I selectively and critically review the state of knowledge about human evolution and the place of humans vis‐à‐vis living apes, with emphasis on bipedal posture and locomotion, expansion of the brain and associated cognitive capacities, speech, tool behavior, culture, and society. I end with a personal perspective on God and Heaven. 相似文献
45.
Chiaki Ishiguro 《The Japanese psychological research》2024,66(1):41-54
Viewing art inspires creativity, which can encourage learning in art education. A previous study revealed that the type of artwork and the way art is viewed affects adults' inspiration; however, no study exists concerning the way children are inspired by viewing art. Thus, the current study aimed to examine whether children's age group/grade level, art style (figurative or abstract), and artwork creators (children or adults) influence children's inspiration, and whether the effects of the art style and creators vary by children's age group/grade level. An online questionnaire survey was conducted with the help of 600 pairs of parents and their elementary-school-aged children. They were asked to view eight paintings that differed in terms of the artists and their individual style and they then rated their inspiration experience when viewing each artwork. The results revealed that children were more inspired when viewing abstract, rather than figurative, paintings, and the effect of the type of painting differed in the third and sixth grades. Additionally, children gained more inspiration by viewing paintings created by children rather than by adults; a difference observed in all grade levels. 相似文献
46.
Patrick Maynard 《Philosophical Studies》2007,135(1):111-121
Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns.
One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait
artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are
in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally,
she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four
fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’
self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply
by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance:
that is, as being intentionally made ‘for’ something.
相似文献
Patrick MaynardEmail: |
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49.
Stefan Morawski 《Studies in East European Thought》1992,43(2):117-137
Born in 1921, professor of philosophy at the University of Warsaw and art theory in the Polish Academy of Sciences; has published twelve books and more than three hundred articles (bibliography in volume 14 of A. Mercier (ed.).Philosophers on Their Own Work. Bern: 1990) ranging over the history of aesthetics, Marxist and Soviet aesthetics, and issues related to the status of the arts in contemporary Western culture. 相似文献
50.
Kenneth M. George 《The Journal of religious ethics》2016,44(1):51-67
Just as recognition and pursuit of the human good take place in language and action, so too do they unfold in encounter with the material and visual. The ethical crises, projects, and striving we see in everyday religious life are worked out not just in the intersubjective play and politics of language but also in encounter with, in dwelling with, material and visual substances and forms. This essay considers the material conditions that make possible the “ethical pleasures” sought by Indonesian painter A. D. Pirous in making and displaying contemporary works of “Islamic art,” most especially works that make “visual recitation” of passages from the Qur'an. 相似文献