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研究了低温低碳氮比条件下好氧段添加AquaMat(s阿科蔓)的A2/O工艺的挂膜启动实验。结果表明:在环境温度为1012℃,C/N为3.5左右的条件下,当系统HRT为10 h,SRT为15 d,污泥回流比为100%,硝化液回流比为200%,好氧段DO在212℃,C/N为3.5左右的条件下,当系统HRT为10 h,SRT为15 d,污泥回流比为100%,硝化液回流比为200%,好氧段DO在23 mg/L,初始MLSS为4 000 mg/L时,好氧段阿科蔓经30 d左右挂膜成功。系统对COD,氨氮,总氮的去除率分别达到90%、97%、60%。对总磷的去除率低且不稳定。实验研究了挂膜过程中COD、氨氮、硝酸盐氮、总氮、总磷、ORP、MLSS及微生物相的变化规律并分析了变化原因。 相似文献
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东北地区2002年春季沙尘暴的物质特征和成因分析 总被引:8,自引:0,他引:8
沙尘暴是东北地区冬春季一种常见的灾害性天气,研究东北地区沙尘颗粒的特征,来源和成因是防止沙尘暴的关键.通过对东北地区2002年春季沙尘暴物质的粒度分析和孢粉分析,发现沙尘暴物质中孢粉丰富,主要以草本中的蒿属和藜科为主.沙尘颗粒的中值粒径为10~20μm. 通过粒度分布曲线和孢粉组合可以从新的角度分析沙尘来源.通过对扬沙和沙尘暴季节分布规律,多年分布规律和地质历史时期及人类历史时期的出现规律的研究,发现东北地区扬沙沙尘暴以冬春型为主,50年中冬春季发生沙尘天气的次数占总次数的75%.在地质历史时期和人类历史时期扬沙和沙尘暴就频繁出现,50年来,扬沙和沙尘暴在波动中减少,2000年开始在东北地区扬沙和沙尘暴出现频率增强.东北地区扬沙和沙尘暴出现频次、强度和分布的南界受冬季风强度控制,冷干组合是沙尘暴高发的有利条件. 相似文献
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During 28-29,September 2005,water was drawn from Hanjiang River and Houguan Lake to the Yangzi River via Sanjiao Lake and Nantaizi Lake in Wuhan in order to provide favorable conditions for ecosystem restoration.To evaluate the feasibility and validity of drawing water as a means of ecosystem restoration,zooplankton populations were studied 3 times (before,immediately after finishing and a month after drawing water)at seven locations from 27 Sept.2005 to 2 Nov.2005.Water quality in the lakes was mostly improved and zooplankton species richness decreased as soon as drawing water had finished but increased a month after drawing water.Zooplankton density and biomass was reduced in the lakes by drawing water but was increased at the entrance to Sanjiao Lake because of landform geometry change.Before drawing water,most species in Sanjiao lake e.g.,Brachionus sp.and Keratella sp.were tolerant of contamination.After drawing water oligotrophic-prone species such as Lecane ludwigii and Gastropus stylifer emerged.We conclude that drawing water could be important for improving water quality and favour ecosystem restoration.Dilution of nutrient concentrations may be an important role in the effect. 相似文献
97.
一种新型高铺展性水成膜泡沫的性质以及灭火性能研究 总被引:1,自引:0,他引:1
介绍了一种自制的多组分水成膜泡沫溶液,并对该泡沫溶液的各种性能(表面张力,铺展性,灭火性能等)进行了表征,同时与传统的水成膜泡沫进行了对比.试验结果表明,该泡沫溶液的表面张力和界面张力很低.极低的表面和界面张力导致该泡沫在液体燃料表面具有很强的铺展性,能在极短的时间内在燃料表面铺展成一层液膜,使燃料表面迅速隔氧降温,从而达到迅速灭火的作用.在通过压缩空气泡沫系统进行灭火的试验中,不论泡沫浓度处于3%或6%,在液体流量较大的情况下,该泡沫对标准柴油火的熄灭时间都在3秒之内.另外,泡沫溶液的铺展性和所形成的泡沫的灭火性能的试验结果表明水成膜泡沫的灭火速率主要是由其在燃料表面形成水膜的速率决定,而形成水膜的速率主要是由泡沫溶液的铺展速率、即铺展性决定的. 相似文献
98.
David E. Alexander 《Environmental Hazards》2016,15(3):209-226
This paper surveys the depiction of disaster in Western art over the centuries. Emphasis is placed on the Italian tradition, as Italy is a country that has a rich experience of both artistic developments and disasters and has provided inspiration to artists from other countries. The survey begins with Classical art and continues with the Mediaeval fresco tradition. The vision of disaster was expanded when naturalism was introduced into art during the Renaissance. Whereas earthquakes had been a prime motivation for artistic representations in the Mediaeval period, during the Baroque volcanic eruptions seem to have been more popular, especially given the remarkable artistic output around Mount Vesuvius in the 18th century. Marine painters concentrated on storm and shipwreck, but often with delineations of extreme atmospheric phenomena. In the 19th century John Martin and others painted the Apocalypse. In the 20th century, Expressionism favoured lively depictions of natural hazards and so, surprisingly, did certain forms of metaphysical abstraction. Disaster has been seen in Western fine art in six ways: as spectacle, as allegory (through Classical mythology or Biblical drama), as a votive instrument of atonement, as a visual commemoration of an extreme event, and as a dramatization of a metaphysical proposition. 相似文献
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