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841.
文章概述了企业要进行“自主创新”产品必须从组织和管理上建立有效的措施。在“产、学、研”结合上必须以企业为主体。 相似文献
842.
乐红霞 《宁波工程学院学报》2001,13(1):80-81,85
创造力的培养已成为现代教育教学活动的重要指向,阅读教学也不例外。怎样培养?一、“承生化”的导入观念,使学生从陌生的角度对文章进行新的探索和创新;二、开放式的教学过程,使学生完善认识,发散思维,主动探索;三、板块式的研读方法,让学生在知识重组中学会创新。 相似文献
843.
《Behaviour & Information Technology》2012,31(8):791-797
In this study, the electronic revision and recapitulation tools 2.0 (EREP2.0) were used to foster creative moments while creating aided recalls (ARs) (pictures electronic notes etc.). Creative and critical thinking is associated with vital skills which enable students to deal with often complex knowledge domains through an informal way of learning. Enabling learners to develop their own representations of information can be a first step to deal with complexity and to foster creativity. In an exploratory study, n = 25 students used EREP2.0 to develop learning questions and ARs for an ongoing course on biological psychology. EREP 2.0 was evaluated with respect to user friendliness, the fostering of creativity and the expected support for cognitive skills according to Bloom's taxonomy. The influence of students' experienced creativity on experienced learning support was tested via Kruskal–Wallis test. Fifteen students reported moderate to high, 4 students low and 5 students no support in creativity. Students who experienced their work as creative felt better supported in comprehension, χ 2(3) = 9.04; p = 0.029, and synthesis, χ 2(3) = 9.46; p = 0.024. No statistically significant effects were found for other categories of Bloom's taxonomy. EREP 2.0 did support the experience of creativity and thus synthesis and comprehension skills. 相似文献
844.
通过对包装设计过程中遇到个性创意困难时,已存于大脑的其它设计样式就会有意或无意识地诱导设计初始意图,出现设计结果与设计初始意图大相径庭的现象分析.论述"遇难就简"地处理设计问题就不能正确把握产品包装设计过程和准确表达设计思想.提出树立正确的审美观念和中心设计思想,定位设计目标和突出设计主题,崇尚具有原创性的个性设计,其目的是正确把握产品包装设计过程和准确表达设计思想,突出设计个性. 相似文献
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847.
Reviews the book, Explaining Creativity: The Science of Human Innovation by R. Keith Sawyer (2006). Explaining Creativity is a refreshing analysis of creativity within a broad range of creative domains that are often neglected in scientific treatments of creativity. The book is divided into five parts. In the first part, Sawyer reviews previous conceptions of creativity, such as \"creativity comes from the unconscious,\" and \"everyone is creative\" and claims many such conceptions are myths. The second part of the book reviews individualist approaches to creativity. In the third part of the book, Sawyer reviews evidence from sociology, culture, and history to show how researchers from various perspectives all converge on the importance of context for recognizing creativity. The fourth part reviews the creative process of performance-based, collaborative artistic forms of creativity, such as installation art, screenwriting, sitcom writing, jazz improvisation, and comedy improvisation. The fifth section shows how science and business creativity are also embedded in a social context and can be even more reliant on collaboration than artistic creativity. The book then ends with tips for being more creative. A complete textbook on creativity should be comprehensive, present all the evidence and viewpoints, and be critical of everything. This is not such a book. Nonetheless, this is one of the first books to go beyond the psychological study of creativity and to synthesize various different levels of analysis to understand diverse creative behaviors. To this end, the book is highly recommended to nearly anyone that wants to have a more complete understanding of how creativity operates in today's world. (PsycINFO Database Record (c) 2010 APA, all rights reserved) 相似文献
848.
This study investigates the composition of product creativity by examining elements of consumer products from the consumer's perspective. This study presents a conceptual model of product creativity assessment within the context of the information processing model. A product creativity survey of 52 items, based on the Creative Product Analysis Matrix and the literature findings, was completed by 205 university students. Results of an exploratory and confirmatory factor analysis indicated six main product creativity dimensions and the percentages of the total variance accounted for by each dimension, which are: resolution (27%); emotion (9%); centrality (8%); importance (8%); desire (7%); and novelty (6%). Results of a stepwise regression indicated that these three product creativity dimensions (centrality, importance and desire) significantly predict customer satisfaction (40% of the explained variance) and purchasability (33% of the explained variance) of creative products. The study concludes with related implications to enhancing product creativity. 相似文献
849.
目的 为实现文化创意产品的多样化和差异性竞争,探索诗词文化启发下的文化创意设计方法,以促进产品与用户产生共鸣,实现文化创意的情感价值和诗词文化价值再生。方法 以诗词文化因子为文化创意设计的切入点,探讨了移情应用于诗词文化创意设计的方法。基于移情视角,从诗词文化的“三境”进行发散分析,构建了“诗词文化+移情方法”的文化创意设计方法,进行文化创意开发。结果 以《出郊》为元素进行茶具文创产品设计实践,由此推导出基于移情的诗词文化创意设计通用模型。结论 基于移情的诗词文化创意设计方法能够以产品为载体将用户和诗词文化关联起来,使文创产品更能满足用户需求,更具情感价值。能够拓宽文化创意设计的基本思路,丰富文创设计的内涵。 相似文献
850.
目的 研究地方文化元素在旅游文创产品设计中的应用,旨在开发地方文化旅游标志,提升旅游产品的市场价值与品味;在“乡村振兴”战略背景下,探索适合经济欠发达区域旅游经济发展的文创产品设计模式。方法 对地方文化元素及旅游文创产品的概念与特征进行综述,分析地方文化元素融入文创产品设计的意义,探索产品设计创新的突破口;结合永州地方文化中的自然景观、特色建筑、方言文化、民族文化等元素进行实例分析,提出文创产品设计的途径与方法。结论 在符合产品设计观赏性、实用性原则的基础上,将文化元素应用于旅游文创产品设计中,能够有效提升文创产品传承地方文化和实现区域特色发展的潜力,所提出的产品设计案例为同类型区域旅游文创产品设计提供参考依据和设计思路。 相似文献