Pub Date : 2018-12-30DOI: 10.7816/ULAKBILGE-06-31-09
Erdal Cetintas
Although there are many ceramic materials obtained from ancient period to the present, information about the production conditions and technologies of these materials is very limited. As a result of the archaeological excavations, some information about ceramic production techniques has begun to be reached, important data about the ceramic workshops and pottery kiln structures used in the kiln have been obtained. However, the information reached to the present day belongs to the deficient or damaged pottery kiln. A completely durable pottery kiln has not yet been found. The kilns uncovered are quite simple and they are all different. In this study; for the purpose of evaluating the production and pottery kiln structures together; General information about the ancient pottery kiln structures is provided. In the application section, the pottery kiln was built in accordance with the structure of the Roman kiln and the firing trials were done. With this work, the information that will be obtained in terms of both archaeological and ceramic production is thought to be helpful in subsequent studies.
{"title":"A TANGIBLE APPROACH TO THE RE-IMPLEMENTATION OF THE CERAMIC KILN STRUCTURE OF THE ROMAN PERIOD","authors":"Erdal Cetintas","doi":"10.7816/ULAKBILGE-06-31-09","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-31-09","url":null,"abstract":"Although there are many ceramic materials obtained from ancient period to the present, information about the production conditions and technologies of these materials is very limited. As a result of the archaeological excavations, some information about ceramic production techniques has begun to be reached, important data about the ceramic workshops and pottery kiln structures used in the kiln have been obtained. However, the information reached to the present day belongs to the deficient or damaged pottery kiln. A completely durable pottery kiln has not yet been found. The kilns uncovered are quite simple and they are all different. In this study; for the purpose of evaluating the production and pottery kiln structures together; General information about the ancient pottery kiln structures is provided. In the application section, the pottery kiln was built in accordance with the structure of the Roman kiln and the firing trials were done. With this work, the information that will be obtained in terms of both archaeological and ceramic production is thought to be helpful in subsequent studies.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128762735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-07
Bekir Kabakci, Fatih Basbug
{"title":"ENTREPRENEURSHIP AS A SPECIAL ART GALLERY AND AUCTION IN TURKEY","authors":"Bekir Kabakci, Fatih Basbug","doi":"10.7816/ULAKBILGE-06-30-07","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-07","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115305816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-03
C. Yuksel
In this study, activities of the Ottoman State's Attaché militia Ömer Fevzi Bey during the First World War will be examined. During the First World War, Iran was of great importance both in the Entente States and in the Alliance States in terms of its geographical position. Germany and the Ottoman State wanted to spread through Iran to the Caucasus and Afghanistan. Thus, it was aimed to squeeze Russia in the Caucasus and disturb England in Afghanistan. There have been many initiatives on Iran to achieve that. Ömer Fevzi Bey was interested in the military ones of these initiatives. The communication with the headquarters of the agents, detachments and gangs sent to Iran was provided via Ömer Fevzi Bey. He spent intensive work in Iran for these initiatives to be successful. Besides, Ömer Fevzi Bey made suggestions to Istanbul by making plans about the region.
{"title":"ATTACHE MILITIA OMER FEVZI BEY’S ACTIVITIES IN IRAN DURING THE FIRST WORLD WAR","authors":"C. Yuksel","doi":"10.7816/ULAKBILGE-06-30-03","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-03","url":null,"abstract":"In this study, activities of the Ottoman State's Attaché militia Ömer Fevzi Bey during the First World War will be examined. During the First World War, Iran was of great importance both in the Entente States and in the Alliance States in terms of its geographical position. Germany and the Ottoman State wanted to spread through Iran to the Caucasus and Afghanistan. Thus, it was aimed to squeeze Russia in the Caucasus and disturb England in Afghanistan. There have been many initiatives on Iran to achieve that. Ömer Fevzi Bey was interested in the military ones of these initiatives. The communication with the headquarters of the agents, detachments and gangs sent to Iran was provided via Ömer Fevzi Bey. He spent intensive work in Iran for these initiatives to be successful. Besides, Ömer Fevzi Bey made suggestions to Istanbul by making plans about the region.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131756488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-01
Tuba Korkmaz
Moving on the water has been a movement that radically changed the history of humanity. For this reason, it is more technologically advanced than the primitive vehicles and able to build strong ships that can overcome the seas has also caused great improvements in terms of technology. In the dictionary, the main dwelling of the ship, which floats above the water, and which carries the human and the cargo, is known as Egypt in the late 4th century BC. It is a vehicle that carries our ship beyond what we know and whips our desire to discover new places while satisfying our curiosity. The use of the gates as an artistic expression tool is based on very old ones. In the history of art, from the tile to oil paintings, there are many confrontations in the field. When we look at contemporary art today, we still see it used as a form with aesthetic and profound meanings. In this research, it is aimed to show the usage differences of ceramic formers of ship form in various countries in the world. From the point of view of the artist, the content of the ship form and the use of different techniques in the field of ceramics are emphasized. The meaning of this form has been opened for them by making interviews with some artists.
{"title":"SHIP FORM IN CONTEMPORARY CERAMIC ART","authors":"Tuba Korkmaz","doi":"10.7816/ULAKBILGE-06-30-01","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-01","url":null,"abstract":"Moving on the water has been a movement that radically changed the history of humanity. For this reason, it is more technologically advanced than the primitive vehicles and able to build strong ships that can overcome the seas has also caused great improvements in terms of technology. In the dictionary, the main dwelling of the ship, which floats above the water, and which carries the human and the cargo, is known as Egypt in the late 4th century BC. It is a vehicle that carries our ship beyond what we know and whips our desire to discover new places while satisfying our curiosity. The use of the gates as an artistic expression tool is based on very old ones. In the history of art, from the tile to oil paintings, there are many confrontations in the field. When we look at contemporary art today, we still see it used as a form with aesthetic and profound meanings. In this research, it is aimed to show the usage differences of ceramic formers of ship form in various countries in the world. From the point of view of the artist, the content of the ship form and the use of different techniques in the field of ceramics are emphasized. The meaning of this form has been opened for them by making interviews with some artists.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130938620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-04
Fatma Nur Duran, M. Parmaksız
{"title":"THE REVIEW OF SEVKUTARAB KAR IN TERMS OF FORM AND SONG-TEXT","authors":"Fatma Nur Duran, M. Parmaksız","doi":"10.7816/ULAKBILGE-06-30-04","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-04","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114871625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-08
Gultekin Akengin, Hakan Mazlum
Graphic design is a visual art discipline that conveys information or message and covers many areas. Nowadays conditions of communication, we are surrounded by all kinds of works on graphic design such as packaging, magazines, books, newspapers, visual identity, mobile media, information design, posters and digital media. Among these design topics, poster design distinguishes itself from other informative or message-oriented designs in terms of the ability to reach large audiences and the practicality of meaning. Posters are a part of social and cultural life in mass communication and are formed in design by blending the artistic knowledge of design knowledge to date. According to these facts, each poster is different according to the type of poster. In the design of posters, the choice of typeface in line with the products, services and activities should be consistent with the form and the feature, the structure supporting the visual elements and the message to be expressed. The designer should be able to present the typography not only for information purposes but also for the purpose of serving the purpose by combining it with the aesthetics and the fear of communicating functionality. The aim of the study is to interpret the film posters designed with the five typographic arrangements selected for the sample of the study, and to evaluate and interpret the typographic elements according to the principles of visual perception. Posters examined in the study; Typography is studied with a method based on three criteria including the legacy of reading, the perception of design and the transfer of the meaning of typography.
{"title":"INVESTIGATION OF TYPOGRAPHIC REGULATIONS ON FILM POSTER SAMPLES ACCORDING TO VISUAL PERCEPTION VALUES","authors":"Gultekin Akengin, Hakan Mazlum","doi":"10.7816/ULAKBILGE-06-30-08","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-08","url":null,"abstract":"Graphic design is a visual art discipline that conveys information or message and covers many areas. Nowadays conditions of communication, we are surrounded by all kinds of works on graphic design such as packaging, magazines, books, newspapers, visual identity, mobile media, information design, posters and digital media. Among these design topics, poster design distinguishes itself from other informative or message-oriented designs in terms of the ability to reach large audiences and the practicality of meaning. Posters are a part of social and cultural life in mass communication and are formed in design by blending the artistic knowledge of design knowledge to date. According to these facts, each poster is different according to the type of poster. In the design of posters, the choice of typeface in line with the products, services and activities should be consistent with the form and the feature, the structure supporting the visual elements and the message to be expressed. The designer should be able to present the typography not only for information purposes but also for the purpose of serving the purpose by combining it with the aesthetics and the fear of communicating functionality. The aim of the study is to interpret the film posters designed with the five typographic arrangements selected for the sample of the study, and to evaluate and interpret the typographic elements according to the principles of visual perception. Posters examined in the study; Typography is studied with a method based on three criteria including the legacy of reading, the perception of design and the transfer of the meaning of typography.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114267205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ulakbilge-06-30-05
Bayram Dede
Romanticism is the name of a freedom war against Westernism and the strict rule of the Academy. The artist, with the broad rights and freedoms promised by the French Revolution, remained in the rhetoric, reacted with great boldness and loud voice. This reaction was against all the solid and ingrained traditions that embraced the bourgeois and the past. The artist has taken on a mission that frees his art from this understanding against prejudices. Romanticism was the understanding of the artist's personal self, the discovery of his inner world, as well as a new tradition of art. Romantic art is considered to be critical, questioning and dreamer. It emerges as a natural product of the artist's view of nature and society. While some of the romantic artists take their reaction as retiring into themselves, others console themselves by exploring the supernatural serenity of nature, which is melancholic, diseased, sometimes capricious. The greatest contribution of romance is that it has broken down the rules of art, which have settled for centuries, bringing a new feeling, reaction, individuality. The most important characteristic is that the first step of the Modern Art movements is formed and the origin of the most crazy art concepts.
{"title":"THE ORIGIN OF MODERN ART: FRENCH ROMANTICISM","authors":"Bayram Dede","doi":"10.7816/ulakbilge-06-30-05","DOIUrl":"https://doi.org/10.7816/ulakbilge-06-30-05","url":null,"abstract":"Romanticism is the name of a freedom war against Westernism and the strict rule of the Academy. The artist, with the broad rights and freedoms promised by the French Revolution, remained in the rhetoric, reacted with great boldness and loud voice. This reaction was against all the solid and ingrained traditions that embraced the bourgeois and the past. The artist has taken on a mission that frees his art from this understanding against prejudices. Romanticism was the understanding of the artist's personal self, the discovery of his inner world, as well as a new tradition of art. Romantic art is considered to be critical, questioning and dreamer. It emerges as a natural product of the artist's view of nature and society. While some of the romantic artists take their reaction as retiring into themselves, others console themselves by exploring the supernatural serenity of nature, which is melancholic, diseased, sometimes capricious. The greatest contribution of romance is that it has broken down the rules of art, which have settled for centuries, bringing a new feeling, reaction, individuality. The most important characteristic is that the first step of the Modern Art movements is formed and the origin of the most crazy art concepts.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128040019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-30DOI: 10.7816/ULAKBILGE-06-30-06
Efe Sembol
This article focuses on the works produced by clan artistes, Surrealist oil painting artistes and Turkish socialist realistic approach in art. These three dimentions of art are very explicit for understanding the evolution of the archetypes with its multiple meanings. The "İmmunu", the "arche-form" and the "deep sense" are three of several concepts representing idea's. Around these elements, new results were found trough investigations, comparisons and analyses. The Philosophical an Psychological conceptions were used for developping new approachs concerning this subject. Surreal meaning of archetypes and the automatism were clarified trough this conceptions.
{"title":"PRESENCE OF THE ARCHETYPES IN ARTISTIC DIMENTION","authors":"Efe Sembol","doi":"10.7816/ULAKBILGE-06-30-06","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-06","url":null,"abstract":"This article focuses on the works produced by clan artistes, Surrealist oil painting artistes and Turkish socialist realistic approach in art. These three dimentions of art are very explicit for understanding the evolution of the archetypes with its multiple meanings. The \"İmmunu\", the \"arche-form\" and the \"deep sense\" are three of several concepts representing idea's. Around these elements, new results were found trough investigations, comparisons and analyses. The Philosophical an Psychological conceptions were used for developping new approachs concerning this subject. Surreal meaning of archetypes and the automatism were clarified trough this conceptions.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123412522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-01DOI: 10.7816/ULAKBILGE-06-30-02
Nuran Ocakoğlu
Clothing, which is an important indicator of the culture, used to have a very important place in the Ottoman culture. The clothes worn in the Ottoman palace used to reflect the power and wealth of the Ottoman Empire. The women in the Ottoman palace used to care their clothing very much and they used to wear dresses sewed from precious and various kinds of fabrik in accordance with their social status. In the clothes of the palace women, different kinds of fabrik were used such as , brocade fabrik, velvet, cracked fabrik, seraser fabrik, deadwood fabric, satin fabrik, canfes, taffeta, vala, balze, and sof fabrik. The clothes used to be emrodiered with golden wires and decorated with precious jewellery. The women clothes worn in the Ottoman palace have inspired many fashion designers from time to time. In this study it is aimed to search the model, pattern, mold, fabrik and decorative features of the women clothing of the Ottoman palaces, and reflect them in today’s world in accordance with today’s technical possibilities without ruining the form and characteristic of those clothes. For this purpose, a modernised and up to date dress, which reflect the general features of the Ottoman women clothing, has been designed.
{"title":"THE WOMEN CLOTHING IN THE OTTOMAN PALACE AND AN ADAPTATION TO TODAY’S CLOTHING DESIGNS","authors":"Nuran Ocakoğlu","doi":"10.7816/ULAKBILGE-06-30-02","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-06-30-02","url":null,"abstract":"Clothing, which is an important indicator of the culture, used to have a very important place in the Ottoman culture. The clothes worn in the Ottoman palace used to reflect the power and wealth of the Ottoman Empire. The women in the Ottoman palace used to care their clothing very much and they used to wear dresses sewed from precious and various kinds of fabrik in accordance with their social status. In the clothes of the palace women, different kinds of fabrik were used such as , brocade fabrik, velvet, cracked fabrik, seraser fabrik, deadwood fabric, satin fabrik, canfes, taffeta, vala, balze, and sof fabrik. The clothes used to be emrodiered with golden wires and decorated with precious jewellery. The women clothes worn in the Ottoman palace have inspired many fashion designers from time to time. In this study it is aimed to search the model, pattern, mold, fabrik and decorative features of the women clothing of the Ottoman palaces, and reflect them in today’s world in accordance with today’s technical possibilities without ruining the form and characteristic of those clothes. For this purpose, a modernised and up to date dress, which reflect the general features of the Ottoman women clothing, has been designed.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124731753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-29DOI: 10.7816/ulakbilge-06-29-09
O. Ahmed
Although the Turkish dialects of Rumelia are considered as part of the Anatolian dialects, they are now completely independent. According to the classification of the Turkish dialects of Rumilia by Gyula Németh, the Turkish dialects of Macedonia are considered a part of the Western Rumelian dialects. In this paper, the characteristics of the Turkish dialects of Macedonia are discussed starting from the 16th century work “Opera Nova de M. Pietro Lvpis Valentiano La qual insegna a parlare Turchesco” by Pietro Lupis Valentiano and estimated publishing date of 1520, then with the PhD thesis of Alpay İğci entitled as “The Characteristics of Western Rumelian Turkish in the 17th Century”, 19th century dictionaries of Gorgji Pulevski entitled as “Dictionary of Four Languages” and “Dictonary of Three Languages” published in 1873 and 1875 respectively, up to the modern day status. It has been concluded that from 16th century to the present, there are very few changes in the characteristics of the Macedonian Turkish dialects.
{"title":"TURKISH DIALECTS IN MACEDONIA: THE PAST AND THE PRESENT STATUS","authors":"O. Ahmed","doi":"10.7816/ulakbilge-06-29-09","DOIUrl":"https://doi.org/10.7816/ulakbilge-06-29-09","url":null,"abstract":"Although the Turkish dialects of Rumelia are considered as part of the Anatolian dialects, they are now completely independent. According to the classification of the Turkish dialects of Rumilia by Gyula Németh, the Turkish dialects of Macedonia are considered a part of the Western Rumelian dialects. In this paper, the characteristics of the Turkish dialects of Macedonia are discussed starting from the 16th century work “Opera Nova de M. Pietro Lvpis Valentiano La qual insegna a parlare Turchesco” by Pietro Lupis Valentiano and estimated publishing date of 1520, then with the PhD thesis of Alpay İğci entitled as “The Characteristics of Western Rumelian Turkish in the 17th Century”, 19th century dictionaries of Gorgji Pulevski entitled as “Dictionary of Four Languages” and “Dictonary of Three Languages” published in 1873 and 1875 respectively, up to the modern day status. It has been concluded that from 16th century to the present, there are very few changes in the characteristics of the Macedonian Turkish dialects.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114393449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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