This study aimed to explore prospective teachers' views and experiences of the utilization of virtual museums for gifted and talented education. The study was conducted at the College of Education of a large Western University in Turkey. The participants were prospective teachers (seniors at the undergraduate level) from the Department of Gifted and Talented Teacher Education, who were expected to become classroom teachers responsible for teaching a wide range of subjects, including reading, mathematics, science, and social studies. Ten prospective teachers voluntarily participated in the study. The study employed a qualitative phenomenological design. The research illuminated the ways in which participants perceived and understood these experiences. This study provided valuable insights into the potential use of virtual museums in the education of gifted students, general education, and teacher education, and considered the positive and negative experiences of pre‐service teachers who have visited virtual museums.
{"title":"Exploring virtual museums: Pre‐service teachers' experiences of virtual museums in gifted and talented education","authors":"Nihat Gürel Kahveci","doi":"10.1111/cura.12647","DOIUrl":"https://doi.org/10.1111/cura.12647","url":null,"abstract":"This study aimed to explore prospective teachers' views and experiences of the utilization of virtual museums for gifted and talented education. The study was conducted at the College of Education of a large Western University in Turkey. The participants were prospective teachers (seniors at the undergraduate level) from the Department of Gifted and Talented Teacher Education, who were expected to become classroom teachers responsible for teaching a wide range of subjects, including reading, mathematics, science, and social studies. Ten prospective teachers voluntarily participated in the study. The study employed a qualitative phenomenological design. The research illuminated the ways in which participants perceived and understood these experiences. This study provided valuable insights into the potential use of virtual museums in the education of gifted students, general education, and teacher education, and considered the positive and negative experiences of pre‐service teachers who have visited virtual museums.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"49 12","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141805675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality.
在巴西，非殖民主义转向在过去十年中促使艺术博物馆进行了话语重组，主要是 通过批判性和补偿性思维驱动的展览。因此，出现了另一种视角，旨在提出植根于边缘化知识和想象的展览叙事。本文以里约艺术博物馆（Museu de Arte do Rio）这一特殊的思考场所为重点，深入探讨了两个展览所采用的策展方法：Mulheres na Coleção MAR 和 Casa Carioca。这些展览为博物馆的另一种方式铺平了道路，全面致力于博物馆的非殖民化。虽然这些展览所带来的变革的可持续性可能会受到质疑，但我们承认它们在合作建立其他解释框架以了解当地现实方面所发挥的作用，并将这一进程的主要受益者定义为不是博物馆本身，而是那些努力应对殖民主义日常影响的社区和个人。
{"title":"Other museums: The disruptive potency of curatorship for the emergence of other modes of power, knowing, and being","authors":"Elisa Noronha, Michelle Dona","doi":"10.1111/cura.12639","DOIUrl":"https://doi.org/10.1111/cura.12639","url":null,"abstract":"<p>In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality.</p>","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"67 3","pages":"639-659"},"PeriodicalIF":1.0,"publicationDate":"2024-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141631200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ellie King, M. P. Smith, Paul F. Wilson, Janet Stott, M. A. Williams
Underpinned by the Model for Museum Exhibit User Experience (MEUX; King et al., Visitor Studies, 2023, 26, 59), this paper develops and presents an evaluation methodology for museum exhibits that utilizes existing methodologies from the user experience sector adapted for the museum and cultural heritage sectors. Two studies are presented: an in‐depth evaluation of the Meat the Future exhibition at Oxford University Museum of Natural History and then a comparative study between this exhibition and two other permanent exhibits at the museum. Quantitative and qualitative data provide a nuanced picture of each exhibit from the visitor perspective and showcase the benefits of the MEUX methods of evaluation. Results show how three different exhibits are constructed in different ways, providing different visitor experiences and outcomes. They are directly compared with identify statistical differences, but do not impose a judgment as to whether any exhibit is better than another. With detailed, nuanced and rigorous data capturing visitor experiences of engaging with exhibits, the MEUX evaluation methodology allows for more sophisticated, standardized and efficient evaluation practices within the sector, with results that directly support further development of exhibits and exhibitions.
{"title":"Evaluating museum exhibits: Quantifying visitor experience and museum impact with user experience methodologies","authors":"Ellie King, M. P. Smith, Paul F. Wilson, Janet Stott, M. A. Williams","doi":"10.1111/cura.12637","DOIUrl":"https://doi.org/10.1111/cura.12637","url":null,"abstract":"Underpinned by the Model for Museum Exhibit User Experience (MEUX; King et al., Visitor Studies, 2023, 26, 59), this paper develops and presents an evaluation methodology for museum exhibits that utilizes existing methodologies from the user experience sector adapted for the museum and cultural heritage sectors. Two studies are presented: an in‐depth evaluation of the Meat the Future exhibition at Oxford University Museum of Natural History and then a comparative study between this exhibition and two other permanent exhibits at the museum. Quantitative and qualitative data provide a nuanced picture of each exhibit from the visitor perspective and showcase the benefits of the MEUX methods of evaluation. Results show how three different exhibits are constructed in different ways, providing different visitor experiences and outcomes. They are directly compared with identify statistical differences, but do not impose a judgment as to whether any exhibit is better than another. With detailed, nuanced and rigorous data capturing visitor experiences of engaging with exhibits, the MEUX evaluation methodology allows for more sophisticated, standardized and efficient evaluation practices within the sector, with results that directly support further development of exhibits and exhibitions.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"61 14","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141349499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wilson C. Sherman, Ashley J. A. Terry, Alison W. Bowers
To achieve their conservation missions, zoos and aquariums must understand how their audiences make judgments about animal wellbeing, as public trust and learning outcomes hinge on the extent to which animals living in these institutions seem well cared for. While previous research has investigated public perceptions of animal wellbeing, the majority of this work has focused on specific species or programs, with few studies employing qualitative research methods. Using qualitative analysis of data from 37 semi‐structured interviews with visitors to the Oakland Zoo, this study explores the indicators visitors used to assess animal wellbeing and the ways visitors employ empathy and anthropomorphism in their thinking about animal wellbeing. Our findings describe the suite of factors influencing visitors' perceptions of animal wellbeing: animal activity, animal habitats, interactions with zoo personnel, and animal health. We also describe the ways interviewees negotiate empathy and anthropomorphism with varying degrees of accuracy and reflectiveness.
{"title":"Identifying indicators, empathy, and anthropomorphism in zoo visitors' perceptions of animal wellbeing through qualitative interviews","authors":"Wilson C. Sherman, Ashley J. A. Terry, Alison W. Bowers","doi":"10.1111/cura.12635","DOIUrl":"https://doi.org/10.1111/cura.12635","url":null,"abstract":"To achieve their conservation missions, zoos and aquariums must understand how their audiences make judgments about animal wellbeing, as public trust and learning outcomes hinge on the extent to which animals living in these institutions seem well cared for. While previous research has investigated public perceptions of animal wellbeing, the majority of this work has focused on specific species or programs, with few studies employing qualitative research methods. Using qualitative analysis of data from 37 semi‐structured interviews with visitors to the Oakland Zoo, this study explores the indicators visitors used to assess animal wellbeing and the ways visitors employ empathy and anthropomorphism in their thinking about animal wellbeing. Our findings describe the suite of factors influencing visitors' perceptions of animal wellbeing: animal activity, animal habitats, interactions with zoo personnel, and animal health. We also describe the ways interviewees negotiate empathy and anthropomorphism with varying degrees of accuracy and reflectiveness.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"138 7","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141350797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Two‐eyed tinkering with museum practice","authors":"John Fraser","doi":"10.1111/cura.12638","DOIUrl":"https://doi.org/10.1111/cura.12638","url":null,"abstract":"","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"18 19","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141378894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Safeguarding and inheriting a society's intangible cultural heritage (ICH) music is essential for preserving cultural identity and fostering cultural diversity. A primary motivation for the formation and continuous activities of the heritage preservation community is the concern over losing valuable cultural assets. Incomplete histories, missing documents, and limited access to both tangible and intangible resources are all repercussions of lost heritage, affecting both the public and scholarly sectors. Given the inherent fragility of intangible cultural forms such as dance, language, and music, archives tasked with preserving these records face unique challenges. These forms can easily vanish without proper documentation and preservation, reinforcing the vital role of the relevant organizations. So, this study explores the unique musical traditions of the Chongqing Three Gorges Reservoir area (CTGRA), along with the various methods for protecting and promoting this ICH. In‐depth information on regional musical traditions, as well as the challenges and possibilities related to conserving and transmitting these practices, was gathered via participant observation, interviews, and field study. The major ways of preserving and transmitting ICH music are storytelling and oral practices that connect communities and musical histories and promote their identity. This study reveals several practices of preserving and transmitting ICH music, such as raising awareness of people, encouraging local artists, and using digital media and advanced technology. This study argues that the rich cultural heritage of the CTGRA is preserved and inherited to future generations by implementing strategies that leverage the power of narrative and support the continuation of these musical practices.
{"title":"Safeguarding and inheriting intangible cultural heritage music in the Chongqing Three Gorges Reservoir area: A case study on Lore","authors":"Su Yang","doi":"10.1111/cura.12636","DOIUrl":"https://doi.org/10.1111/cura.12636","url":null,"abstract":"Safeguarding and inheriting a society's intangible cultural heritage (ICH) music is essential for preserving cultural identity and fostering cultural diversity. A primary motivation for the formation and continuous activities of the heritage preservation community is the concern over losing valuable cultural assets. Incomplete histories, missing documents, and limited access to both tangible and intangible resources are all repercussions of lost heritage, affecting both the public and scholarly sectors. Given the inherent fragility of intangible cultural forms such as dance, language, and music, archives tasked with preserving these records face unique challenges. These forms can easily vanish without proper documentation and preservation, reinforcing the vital role of the relevant organizations. So, this study explores the unique musical traditions of the Chongqing Three Gorges Reservoir area (CTGRA), along with the various methods for protecting and promoting this ICH. In‐depth information on regional musical traditions, as well as the challenges and possibilities related to conserving and transmitting these practices, was gathered via participant observation, interviews, and field study. The major ways of preserving and transmitting ICH music are storytelling and oral practices that connect communities and musical histories and promote their identity. This study reveals several practices of preserving and transmitting ICH music, such as raising awareness of people, encouraging local artists, and using digital media and advanced technology. This study argues that the rich cultural heritage of the CTGRA is preserved and inherited to future generations by implementing strategies that leverage the power of narrative and support the continuation of these musical practices.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"107 7","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141377854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Royal Museum of Fine Arts in Antwerp, Belgium, reopened after an 11‐year renovation. In addition to completely cleaning the exterior façade of the neoclassical building, a new, modern wing was built inside former internal courtyards—a glossy, white cube with very high ceilings and a dramatic 100+ step flight of stairs. The historical part of the museum was also fully renovated to its original grandeur. The collection was reinstalled, and the overall interpretive strategy focused on making the art approachable to a multigenerational and multicultural visitorship: Eschewing chronology, paintings are grouped by themes, texts are user‐friendly and encourage interactive experiences, and special activities are available for children. Short videos are also available in some galleries that provide context, explain specific art techniques, or contain games. A wide range of experiences is available to museum users, somewhat consistent with an approach proposed by the Smithsonian Institution's IPOP framework. The reviewer found the reinstallation and related user experiences a relevant, people‐oriented model for 21st century art museums.
{"title":"Antwerp's Royal Museum of Fine Arts","authors":"Z. Doering","doi":"10.1111/cura.12624","DOIUrl":"https://doi.org/10.1111/cura.12624","url":null,"abstract":"The Royal Museum of Fine Arts in Antwerp, Belgium, reopened after an 11‐year renovation. In addition to completely cleaning the exterior façade of the neoclassical building, a new, modern wing was built inside former internal courtyards—a glossy, white cube with very high ceilings and a dramatic 100+ step flight of stairs. The historical part of the museum was also fully renovated to its original grandeur. The collection was reinstalled, and the overall interpretive strategy focused on making the art approachable to a multigenerational and multicultural visitorship: Eschewing chronology, paintings are grouped by themes, texts are user‐friendly and encourage interactive experiences, and special activities are available for children. Short videos are also available in some galleries that provide context, explain specific art techniques, or contain games. A wide range of experiences is available to museum users, somewhat consistent with an approach proposed by the Smithsonian Institution's IPOP framework. The reviewer found the reinstallation and related user experiences a relevant, people‐oriented model for 21st century art museums.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"68 9","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141268544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book review: The role of libraries, archives, and museums in achieving civic engagement and social justice in smart cities By MohamedTaher, Hershey, PA: IGI Global. 2022","authors":"Laura‐Edythe S. Coleman","doi":"10.1111/cura.12627","DOIUrl":"https://doi.org/10.1111/cura.12627","url":null,"abstract":"","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"102 22","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141115842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses a cocurated hybrid (online + onsite) exhibition Apart/Together, which was specifically created to support the community during the challenging times of COVID‐19. Its primary aim was to highlight and foster the theme of friendship, while also showcasing the artworks of two contemporary artists, one from the United States and the other from China. The curatorial team forming the backbone of Apart/Together consisted of students from China and the United States and this diverse team of curators played a crucial role in shaping the exhibition's content and approach. This article examines the curatorial process of Apart/Together, focusing on how it was carried out through the perspective of cultural competency. Cultural competency is a dynamic developmental process that develops the ability or sensibility to collaborate effectively with individuals from different cultures. During a collaborative curatorial process, the curatorial team employed appropriate methods to engage participants, leveraging their cultural diversity to foster intercultural communication and integration. The curatorial experience of Apart/Together during the COVID‐19 pandemic confirmed the importance of cultural competency in curation and contributed to the literature on online collaborative curation and visitor‐centered exhibitions.
{"title":"Apart/Together: Challenges and opportunities for exhibition curation during the COVID‐19 pandemic","authors":"Xiaonan Jiang","doi":"10.1111/cura.12629","DOIUrl":"https://doi.org/10.1111/cura.12629","url":null,"abstract":"This article discusses a cocurated hybrid (online + onsite) exhibition Apart/Together, which was specifically created to support the community during the challenging times of COVID‐19. Its primary aim was to highlight and foster the theme of friendship, while also showcasing the artworks of two contemporary artists, one from the United States and the other from China. The curatorial team forming the backbone of Apart/Together consisted of students from China and the United States and this diverse team of curators played a crucial role in shaping the exhibition's content and approach. This article examines the curatorial process of Apart/Together, focusing on how it was carried out through the perspective of cultural competency. Cultural competency is a dynamic developmental process that develops the ability or sensibility to collaborate effectively with individuals from different cultures. During a collaborative curatorial process, the curatorial team employed appropriate methods to engage participants, leveraging their cultural diversity to foster intercultural communication and integration. The curatorial experience of Apart/Together during the COVID‐19 pandemic confirmed the importance of cultural competency in curation and contributed to the literature on online collaborative curation and visitor‐centered exhibitions.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"35 7","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141123476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Neil Wilkin, Raffaella Cecilia, Jennifer Wexler, Melanie Giles, Duncan Garrow
Grave goods are among the most common, but at the same time most powerful, objects on display in many museums. They possess the rare—often latent—ability to convey both particular and universal themes and to collapse chronological and cultural differences by connecting the shared embodiment of museum visitors and past people. To explore these values, this study draws on the results of two phases of in‐depth, mixed‐methods audience research before and after a rapid and low‐cost interpretative intervention: the “Death, Memory and Meaning” trail in the later prehistoric galleries of the British Museum. The analysis highlights the importance of fore‐fronting intimacy and the complex relationship between bodies and objects. It also demonstrates the importance of contextual, emotionally and spiritually connected approaches to the presentation of grave goods. Our findings are especially timely given the intensification of ethical concerns surrounding displays of prehistoric European human remains in museums.
{"title":"Materializing mortality: Re‐enchanting grave goods in the British Museum using mixed‐method approaches to audience research","authors":"Neil Wilkin, Raffaella Cecilia, Jennifer Wexler, Melanie Giles, Duncan Garrow","doi":"10.1111/cura.12625","DOIUrl":"https://doi.org/10.1111/cura.12625","url":null,"abstract":"Grave goods are among the most common, but at the same time most powerful, objects on display in many museums. They possess the rare—often latent—ability to convey both particular and universal themes and to collapse chronological and cultural differences by connecting the shared embodiment of museum visitors and past people. To explore these values, this study draws on the results of two phases of in‐depth, mixed‐methods audience research before and after a rapid and low‐cost interpretative intervention: the “Death, Memory and Meaning” trail in the later prehistoric galleries of the British Museum. The analysis highlights the importance of fore‐fronting intimacy and the complex relationship between bodies and objects. It also demonstrates the importance of contextual, emotionally and spiritually connected approaches to the presentation of grave goods. Our findings are especially timely given the intensification of ethical concerns surrounding displays of prehistoric European human remains in museums.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":"113 41","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141125875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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