The Universe as a Process. Heraclitus and the Environmental Crisis. This essay fits within a series of preparatory works meant to highlight what I think should be the main traits of a new paradigm. As Modernity fades and fails, the environmental crisis is the epitome of what used to work as claimed, and no longer does. Far from being a “mere” question of low and high policies, deep misunderstandings are revealed about knowledge and, deeper still, mistaken representations of humanity’s place and role in the world. This essay will contend that a radical shift in perspective is needed to confront the challenges of the twenty-first century. The good news is that an alternative Weltanschauung already exists in Western culture – starting from Heraclitus and reaching through to Simmel – which moreover finds itself in better accord with science’s latest discoveries than the current one; the bad news is that it is unsettling and hard to handle within contemporary frames of reference and paradigmatic inertia and needs hard work and courage to be put forward.
{"title":"Universo come processo. Eraclito e la crisi ambientale","authors":"F. D'Andrea","doi":"10.7413/22818138174","DOIUrl":"https://doi.org/10.7413/22818138174","url":null,"abstract":"The Universe as a Process. Heraclitus and the Environmental Crisis. This essay fits within a series of preparatory works meant to highlight what I think should be the main traits of a new paradigm. As Modernity fades and fails, the environmental crisis is the epitome of what used to work as claimed, and no longer does. Far from being a “mere” question of low and high policies, deep misunderstandings are revealed about knowledge and, deeper still, mistaken representations of humanity’s place and role in the world. This essay will contend that a radical shift in perspective is needed to confront the challenges of the twenty-first century. The good news is that an alternative Weltanschauung already exists in Western culture – starting from Heraclitus and reaching through to Simmel – which moreover finds itself in better accord with science’s latest discoveries than the current one; the bad news is that it is unsettling and hard to handle within contemporary frames of reference and paradigmatic inertia and needs hard work and courage to be put forward.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134301734","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}
Re-inventing Nature: the case of Neo-paganism . The article is an analysis of how the development of Neo-paganism, a new religious movement, modifies the perception of Nature of its followers. Neo-paganism is a group of polytheistic cults coming from pre-Christian traditions. One of the common principles is to be a nature-based religion, this means that Nature is the center of veneration. One of its multiple roots is in the rediscovery of the ancient Celtic past that begins in the UK at the end of the eighteenth century and develops inheriting the whole Romantic imaginary. Neo-paganism became a proper spiritual movement during the second half of the Fifties. In the Sixties there is another evolution that brings a change of perspective thanks to the rise of ecological awareness. The human being is put inside the natural world recalling an ancient mythical past where the coexistence was symbiotic, and it is constantly evoked a sense of debt and duty in front of an abused Mother Nature that is always good and fair.
{"title":"Reinventare la Natura: il caso del Neopaganesimo","authors":"Martina Vanzo","doi":"10.7413/22818138170","DOIUrl":"https://doi.org/10.7413/22818138170","url":null,"abstract":"Re-inventing Nature: the case of Neo-paganism . The article is an analysis of how the development of Neo-paganism, a new religious movement, modifies the perception of Nature of its followers. Neo-paganism is a group of polytheistic cults coming from pre-Christian traditions. One of the common principles is to be a nature-based religion, this means that Nature is the center of veneration. One of its multiple roots is in the rediscovery of the ancient Celtic past that begins in the UK at the end of the eighteenth century and develops inheriting the whole Romantic imaginary. Neo-paganism became a proper spiritual movement during the second half of the Fifties. In the Sixties there is another evolution that brings a change of perspective thanks to the rise of ecological awareness. The human being is put inside the natural world recalling an ancient mythical past where the coexistence was symbiotic, and it is constantly evoked a sense of debt and duty in front of an abused Mother Nature that is always good and fair.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131602158","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}
Adam Basanta is the author of the installation named Landscape Past Future, exhibited at the gnration gallery in Braga, Portugal, between 23 October and 11 January 2020. This artistic project is based on images of works of art (landscape painting and photography) from the main institutional collections, publicly available, used to create new digital landscapes. Applying custom digital mosaic software, small data sets were placed and rearranged on a virtual screen to create a new aggregate image. Starting from this case, we intend to investigate how the landscape genre, remedied by the new media art, challenges us to reframe both nature and landscape ideas, in contemporary times. This article aims to discuss the role of new technologies as a medium that can help us to recover the exercise of contemplation, and to transform « nature » into « landscape », as an action of seeing and thinking, after all the first step to really act, with a sense of urgency, on our unsustainable habitat.
Adam Basanta是名为“景观过去的未来”的装置的作者，该装置于2020年10月23日至1月11日在葡萄牙布拉加的gnation画廊展出。这个艺术项目是基于主要机构收藏的艺术作品(山水画和摄影)的图像，公开可用，用于创建新的数字景观。应用自定义数字马赛克软件，将小数据集放置并重新排列在虚拟屏幕上以创建新的聚合图像。从这个案例开始，我们打算探讨在新媒体艺术的帮助下，景观类型如何挑战我们在当代重新构建自然和景观观念。本文旨在讨论新技术作为一种媒介的作用，它可以帮助我们恢复沉思的练习，并将“自然”转化为“景观”，作为一种观察和思考的行动，毕竟这是真正采取行动的第一步，带着紧迫感，对我们不可持续的栖息地。
{"title":"The urgency of recovering contemplation. New Media Art and the transformation of nature into landscape","authors":"Helena Pires","doi":"10.7413/22818138167","DOIUrl":"https://doi.org/10.7413/22818138167","url":null,"abstract":"Adam Basanta is the author of the installation named Landscape Past Future, exhibited at the gnration gallery in Braga, Portugal, between 23 October and 11 January 2020. This artistic project is based on images of works of art (landscape painting and photography) from the main institutional collections, publicly available, used to create new digital landscapes. Applying custom digital mosaic software, small data sets were placed and rearranged on a virtual screen to create a new aggregate image. Starting from this case, we intend to investigate how the landscape genre, remedied by the new media art, challenges us to reframe both nature and landscape ideas, in contemporary times. This article aims to discuss the role of new technologies as a medium that can help us to recover the exercise of contemplation, and to transform « nature » into « landscape », as an action of seeing and thinking, after all the first step to really act, with a sense of urgency, on our unsustainable habitat.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114655038","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}
Canned imaginaries: the influence of packaging on the consumption experience in a craft brewery. Craft brewing is a global movement, locally redefined through places, people and, not last, objects. The packaging of goods is one of the distinctive practices of modernity, a cultural technique for the treatment of consumer objects. In this article we propose an analysis of the immaterial dimension of beer cans in an Italian craft brewery. Different aspects of package design are involved within social imaginaries, shaping consumer's desires and experience. Packaging is an active agent of a marketing strategy which involves the consumption experience. The agency of the can is express by its capacity to establish with the consumer a multi-sensory relation, through the immaterial components inscribed within its own materiality. Moreover, the desire component exceed the instrumentality of the object, bringing the can in a new system of objects, as a collectable item.
{"title":"L'immaginario in lattina: il ruolo del packaging nell'esperienza di consumo di un birrificio artigianale","authors":"Nicola Martellozzo","doi":"10.7413/22818138137","DOIUrl":"https://doi.org/10.7413/22818138137","url":null,"abstract":"Canned imaginaries: the influence of packaging on the consumption experience in a craft brewery. Craft brewing is a global movement, locally redefined through places, people and, not last, objects. The packaging of goods is one of the distinctive practices of modernity, a cultural technique for the treatment of consumer objects. In this article we propose an analysis of the immaterial dimension of beer cans in an Italian craft brewery. Different aspects of package design are involved within social imaginaries, shaping consumer's desires and experience. Packaging is an active agent of a marketing strategy which involves the consumption experience. The agency of the can is express by its capacity to establish with the consumer a multi-sensory relation, through the immaterial components inscribed within its own materiality. Moreover, the desire component exceed the instrumentality of the object, bringing the can in a new system of objects, as a collectable item.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128283967","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}
The "Land of Fire". Multiculturalism and intercultural identities in "A taxi driver in Baku". National identities are of crucial importance for understanding the development of any society and, in addition to the classic structures used to study them, the importance of using the imaginary perspective must be taken into account, since the coexistence of different structures of meaning and archetypes presents new and different interpretations hitherto underestimated. The existence of common patterns between various geographically distant cultures opens up a fascinating question as to how effectively the identity of a population is defined within precise boundaries and how much it can share or not common traits with the identity of another nation. The example analyzed in this review is the complex identity of the inhabitants of Azerbaijan, since this country has always been considered a center of confrontation between ideologies and cultures and, therefore, it is necessary to recognize the author Barbara Cassani the merit of having succeeded in presenting in the best way the social and identitary landscape of this nation, with her book "Un tassista a Baku", highlighting the multiculturality and interculturality that characterizes it.
{"title":"La “Terra del Fuoco”. Multiculturalismo e identità interculturali nell’Azerbaijan di Un tassista a Baku","authors":"Dariush Rahiminia","doi":"10.7413/22818138143","DOIUrl":"https://doi.org/10.7413/22818138143","url":null,"abstract":"The \"Land of Fire\". Multiculturalism and intercultural identities in \"A taxi driver in Baku\". National identities are of crucial importance for understanding the development of any society and, in addition to the classic structures used to study them, the importance of using the imaginary perspective must be taken into account, since the coexistence of different structures of meaning and archetypes presents new and different interpretations hitherto underestimated. The existence of common patterns between various geographically distant cultures opens up a fascinating question as to how effectively the identity of a population is defined within precise boundaries and how much it can share or not common traits with the identity of another nation. The example analyzed in this review is the complex identity of the inhabitants of Azerbaijan, since this country has always been considered a center of confrontation between ideologies and cultures and, therefore, it is necessary to recognize the author Barbara Cassani the merit of having succeeded in presenting in the best way the social and identitary landscape of this nation, with her book \"Un tassista a Baku\", highlighting the multiculturality and interculturality that characterizes it.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122450442","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}
The key and the hammer: life and tragedy of cultural objects in the sociological theory of Georg Simmel. Once Georg Simmel lectured in Berlin that sociology, as a new discipline amongst humanites, must be compared to a “new key for old masters” or to a “new hammer for old walnuts”. Sociology has a specific task: it explores the life of interactions, not only in regard to the human relationships, but extending this principle to the dynamics of the processes amongst subjects and objects. Firstly, the present essay aims to explore the sociological theory of Georg Simmel toward cultural objects, addressing how strong the seeming pretext of analyzing specific objects (vase loop, frame, chair, clothes, etc.) through metaphors actually represents the need to reconsider the world of objects from a strictly sociological perspective. The order of cultural objects must be interpreted through the codification and understanding of the social order. Secondly, for Simmel the achievement of modernity consists of the “becoming- society” of the world (of cultural objects). In other words, objects represent, trigger, and “irritate” social behaviors, and they operate as instruments of a shared and communal ritual. This peculiar order emerges into the intertwined triad of language ( symbolic sphere ), culture ( value sphere ) and social order ( intersubjective sphere ): within this frame any subject and object might assume its own meaning due to the order given by a unifing and organizing form .
{"title":"La chiave e il martello: vita e tragedia degli oggetti culturali nella teoria sociologica di Georg Simmel","authors":"D. Ruggieri","doi":"10.7413/22818138135","DOIUrl":"https://doi.org/10.7413/22818138135","url":null,"abstract":"The key and the hammer: life and tragedy of cultural objects in the sociological theory of Georg Simmel. Once Georg Simmel lectured in Berlin that sociology, as a new discipline amongst humanites, must be compared to a “new key for old masters” or to a “new hammer for old walnuts”. Sociology has a specific task: it explores the life of interactions, not only in regard to the human relationships, but extending this principle to the dynamics of the processes amongst subjects and objects. Firstly, the present essay aims to explore the sociological theory of Georg Simmel toward cultural objects, addressing how strong the seeming pretext of analyzing specific objects (vase loop, frame, chair, clothes, etc.) through metaphors actually represents the need to reconsider the world of objects from a strictly sociological perspective. The order of cultural objects must be interpreted through the codification and understanding of the social order. Secondly, for Simmel the achievement of modernity consists of the “becoming- society” of the world (of cultural objects). In other words, objects represent, trigger, and “irritate” social behaviors, and they operate as instruments of a shared and communal ritual. This peculiar order emerges into the intertwined triad of language ( symbolic sphere ), culture ( value sphere ) and social order ( intersubjective sphere ): within this frame any subject and object might assume its own meaning due to the order given by a unifing and organizing form .","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"219 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115983667","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}
Images, imagination and imaginary. Richard Kearney and the not so mournful wake of postmodernism. This essay aims to locate The Wake of Immagination within Richard Kearney’s scholarly research and relate it to current theorizations of postmodernism, with a focus on the function served by images, imagination and imagery in the postmodern context. In so doing, it questions the philosophical grounds of Kearney’s investigation, his genealogy of the concept of imagination throughout the centuries and across cultures, and his subsequent analysis of the contemporary age and its idiosyncrasies: from image addiction, through the crisis of creative imagination, to the persistence of an ethic imagery still able to articulate possible narratives that are responsive to the demands of the Other .
{"title":"Immagini, immaginazione e immaginario. Richard Kearney e la veglia poco funebre del postmodernismo","authors":"A. Binelli","doi":"10.7413/22818138142","DOIUrl":"https://doi.org/10.7413/22818138142","url":null,"abstract":"Images, imagination and imaginary. Richard Kearney and the not so mournful wake of postmodernism. This essay aims to locate The Wake of Immagination within Richard Kearney’s scholarly research and relate it to current theorizations of postmodernism, with a focus on the function served by images, imagination and imagery in the postmodern context. In so doing, it questions the philosophical grounds of Kearney’s investigation, his genealogy of the concept of imagination throughout the centuries and across cultures, and his subsequent analysis of the contemporary age and its idiosyncrasies: from image addiction, through the crisis of creative imagination, to the persistence of an ethic imagery still able to articulate possible narratives that are responsive to the demands of the Other .","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126158282","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}
Bottled water, from enchantment to grave. The water bottle is one of those objects that have become an essential part of our daily lives. Our focus was on the combination of the two materials : the resource and its plastic envelope. Both have a body, cognitive and emotional language that we present. Water is first and foremost the subjetc of messages and images that individuals appropriate in an intimate and collective way. It is a matter of reverie and incorporation. The plastic bottle makes it possible to contain, in a practical form, a word of meanings widely used by brands. However, despite the use of a technology that claims to be environmentaly friendly, plastic is a problem: it spreads out before our eyes to give way to new imagination, that of welding and pollution and pollution, which invite us to think about the programmed end of plastic.
{"title":"L’eau embouteillée. De l’enchantement à la tombe","authors":"H. Houdayer","doi":"10.7413/22818138136","DOIUrl":"https://doi.org/10.7413/22818138136","url":null,"abstract":"Bottled water, from enchantment to grave. The water bottle is one of those objects that have become an essential part of our daily lives. Our focus was on the combination of the two materials : the resource and its plastic envelope. Both have a body, cognitive and emotional language that we present. Water is first and foremost the subjetc of messages and images that individuals appropriate in an intimate and collective way. It is a matter of reverie and incorporation. The plastic bottle makes it possible to contain, in a practical form, a word of meanings widely used by brands. However, despite the use of a technology that claims to be environmentaly friendly, plastic is a problem: it spreads out before our eyes to give way to new imagination, that of welding and pollution and pollution, which invite us to think about the programmed end of plastic.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114765583","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}
The train, an object and a subject of modernity. Among the objects that play a fundamental role in our life experience the train stands out, having played a fundamental role in the human experience since the second half of the 19th century. The railway was a big player in the industrial development of western society and of some of the biggest transformations in daily life. It has profoundly entered into the experience of everyone, given its enormous influence in modernity. The train was the protagonist of the transformation of medieval cities into modern metropolises, of the reconfiguration of the social perception of time and space and of the development of industrial design. Most of all, the train has a very strong symbolic power and a central role in the social imaginery, having been the catalyst for the myth of speed. It is our intention to question the development of the railway with the eyes of phenomenological sociology, bringing out its role as a subject, as well as a fundamental object, of the human experience of modernity.
{"title":"Il treno, oggetto e soggetto della modernità","authors":"L. Fattori","doi":"10.7413/22818138138","DOIUrl":"https://doi.org/10.7413/22818138138","url":null,"abstract":"The train, an object and a subject of modernity. Among the objects that play a fundamental role in our life experience the train stands out, having played a fundamental role in the human experience since the second half of the 19th century. The railway was a big player in the industrial development of western society and of some of the biggest transformations in daily life. It has profoundly entered into the experience of everyone, given its enormous influence in modernity. The train was the protagonist of the transformation of medieval cities into modern metropolises, of the reconfiguration of the social perception of time and space and of the development of industrial design. Most of all, the train has a very strong symbolic power and a central role in the social imaginery, having been the catalyst for the myth of speed. It is our intention to question the development of the railway with the eyes of phenomenological sociology, bringing out its role as a subject, as well as a fundamental object, of the human experience of modernity.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"260 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123108122","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}
Imaginary and Objects. For a Sociology of Surface. The aim of this paper is to clarify the relationship between objects and imaginary. Objects are investigated as the skin of the imaginary. In this way, objects allow us to define the figure of a specific era. Furthermore, starting from a sensory relationship with objects, we fulfill our existence precisely from their use. In this context we believe that a sociology of surface is the epistemological tool to investigate the complex relationship between humankind and objects.
{"title":"L’immaginario e gli oggetti. Per una sociologia della superficie","authors":"F. Rocca, A. Tramontana","doi":"10.7413/22818138134","DOIUrl":"https://doi.org/10.7413/22818138134","url":null,"abstract":"Imaginary and Objects. For a Sociology of Surface. The aim of this paper is to clarify the relationship between objects and imaginary. Objects are investigated as the skin of the imaginary. In this way, objects allow us to define the figure of a specific era. Furthermore, starting from a sensory relationship with objects, we fulfill our existence precisely from their use. In this context we believe that a sociology of surface is the epistemological tool to investigate the complex relationship between humankind and objects.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128740166","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：