K-pop groups and artists have been localized to appeal to the lucrative Japanese market since the early 2000s. However, the two successful girl groups, TWICE and Iz One, exhibit a new direction in K-pop, by being members of both Korean and Japanese origin within the same groups. By drawing upon the literature on localization strategies and contentious Japan–Korea relations, ethnographic fieldwork and media sources, this article examines two locations in Tokyo in which K-pop consumption takes place. Contrary to the polarization tendencies that signify current Japan–Korea relations in the political realm, the gendered K-pop spaces and Japan–Korea collaborations such as Iz One signify benign hybridity and localization.
自 2000 年代初以来，K-pop 团体和艺人已经本土化，以吸引利润丰厚的日本市场。然而，TWICE 和 Iz One 这两个成功的女子组合展示了 K-pop 的一个新方向，即在同一组合中既有韩国血统的成员，也有日本血统的成员。本文借鉴有关本土化战略和有争议的日韩关系的文献、人种学田野调查和媒体资料，对东京的两个K-pop消费场所进行了研究。与当前日韩关系在政治领域的两极分化趋势相反，K-pop 的性别空间和日韩合作（如 Iz One）体现了良性混合和本地化。
{"title":"Japanese and Korean collaborations in K-pop: Iz One, TWICE and K-pop spaces in Tokyo","authors":"Björn Boman","doi":"10.1386/eapc_00116_1","DOIUrl":"https://doi.org/10.1386/eapc_00116_1","url":null,"abstract":"K-pop groups and artists have been localized to appeal to the lucrative Japanese market since the early 2000s. However, the two successful girl groups, TWICE and Iz One, exhibit a new direction in K-pop, by being members of both Korean and Japanese origin within the same groups. By drawing upon the literature on localization strategies and contentious Japan–Korea relations, ethnographic fieldwork and media sources, this article examines two locations in Tokyo in which K-pop consumption takes place. Contrary to the polarization tendencies that signify current Japan–Korea relations in the political realm, the gendered K-pop spaces and Japan–Korea collaborations such as Iz One signify benign hybridity and localization.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"48 32","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139775596","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}
In SMAP’s post-break-up social media output, there was a shift in the kind of masculinity embodied by the performers: from the beautiful, sexually desirable mode of masculinity associated with their Heisei heyday to a more vulnerable mode of masculinity that emphasized intimacy and authenticity. I call this more recent mode of masculinity ‘entrepreneurial masculinity’, drawing on Akiko Takeyama’s study of male hosts, who use romance, emotion and intimacy to connect with customers. From an object of desire, particularly sexual desire, the male body changes to an entity associated with vulnerability. This article explores different kinds of vulnerability in SMAP’s post-break-up output, particularly in social media posts by member Katori Shingo: vulnerability to loneliness, vulnerability to social and economic precarity and vulnerability to violence. This shift with regard to the body and masculinity in idol culture reflects trends of increased social and economic precarity in neo-liberal Japan.
{"title":"The break-up of SMAP and the rise of entrepreneurial masculinity in 2010s Japan","authors":"Marianne Tarcov","doi":"10.1386/eapc_00118_1","DOIUrl":"https://doi.org/10.1386/eapc_00118_1","url":null,"abstract":"In SMAP’s post-break-up social media output, there was a shift in the kind of masculinity embodied by the performers: from the beautiful, sexually desirable mode of masculinity associated with their Heisei heyday to a more vulnerable mode of masculinity that emphasized intimacy and authenticity. I call this more recent mode of masculinity ‘entrepreneurial masculinity’, drawing on Akiko Takeyama’s study of male hosts, who use romance, emotion and intimacy to connect with customers. From an object of desire, particularly sexual desire, the male body changes to an entity associated with vulnerability. This article explores different kinds of vulnerability in SMAP’s post-break-up output, particularly in social media posts by member Katori Shingo: vulnerability to loneliness, vulnerability to social and economic precarity and vulnerability to violence. This shift with regard to the body and masculinity in idol culture reflects trends of increased social and economic precarity in neo-liberal Japan.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"444 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835500","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}
In recent years, hostility towards Asian boys love (BL) media and fans in western English-speaking fandoms has been growing. This has manifested in anti-BL and anti-fujoshi anti-fans, many of whom express the general notion that queer western media is morally good and queer Asian media is morally bad. This division has encouraged a dehumanizing environment and some of these anti-fans consider their prejudiced behaviour morally justified and necessary. Their proposed aim is to maintain the moral sanctity of LGBTQ+ representation in their western English-speaking fan spaces. This article explores what drives this division and how BL and fujoshi specifically came to be so vilified in parts of LGBTQ+ western English-speaking fandom. The origins of this growing desire for LGBTQ+ moral sanctity in western English-speaking fandom are critiqued and how anti-trans gender critical beliefs in online communities came to affect western English-speaking fans’ perceptions of BL and fujoshi is revealed.
{"title":"The influence of transphobia, homonationalism and anti-Asian prejudice: Anti-BL attitudes in English-speaking fandoms","authors":"Samantha Aburime","doi":"10.1386/eapc_00119_1","DOIUrl":"https://doi.org/10.1386/eapc_00119_1","url":null,"abstract":"In recent years, hostility towards Asian boys love (BL) media and fans in western English-speaking fandoms has been growing. This has manifested in anti-BL and anti-fujoshi anti-fans, many of whom express the general notion that queer western media is morally good and queer Asian media is morally bad. This division has encouraged a dehumanizing environment and some of these anti-fans consider their prejudiced behaviour morally justified and necessary. Their proposed aim is to maintain the moral sanctity of LGBTQ+ representation in their western English-speaking fan spaces. This article explores what drives this division and how BL and fujoshi specifically came to be so vilified in parts of LGBTQ+ western English-speaking fandom. The origins of this growing desire for LGBTQ+ moral sanctity in western English-speaking fandom are critiqued and how anti-trans gender critical beliefs in online communities came to affect western English-speaking fans’ perceptions of BL and fujoshi is revealed.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"31 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139775359","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}
K-pop groups and artists have been localized to appeal to the lucrative Japanese market since the early 2000s. However, the two successful girl groups, TWICE and Iz One, exhibit a new direction in K-pop, by being members of both Korean and Japanese origin within the same groups. By drawing upon the literature on localization strategies and contentious Japan–Korea relations, ethnographic fieldwork and media sources, this article examines two locations in Tokyo in which K-pop consumption takes place. Contrary to the polarization tendencies that signify current Japan–Korea relations in the political realm, the gendered K-pop spaces and Japan–Korea collaborations such as Iz One signify benign hybridity and localization.
自 2000 年代初以来，K-pop 团体和艺人已经本土化，以吸引利润丰厚的日本市场。然而，TWICE 和 Iz One 这两个成功的女子组合展示了 K-pop 的一个新方向，即在同一组合中既有韩国血统的成员，也有日本血统的成员。本文借鉴有关本土化战略和有争议的日韩关系的文献、人种学田野调查和媒体资料，对东京的两个K-pop消费场所进行了研究。与当前日韩关系在政治领域的两极分化趋势相反，K-pop 的性别空间和日韩合作（如 Iz One）体现了良性混合和本地化。
{"title":"Japanese and Korean collaborations in K-pop: Iz One, TWICE and K-pop spaces in Tokyo","authors":"Björn Boman","doi":"10.1386/eapc_00116_1","DOIUrl":"https://doi.org/10.1386/eapc_00116_1","url":null,"abstract":"K-pop groups and artists have been localized to appeal to the lucrative Japanese market since the early 2000s. However, the two successful girl groups, TWICE and Iz One, exhibit a new direction in K-pop, by being members of both Korean and Japanese origin within the same groups. By drawing upon the literature on localization strategies and contentious Japan–Korea relations, ethnographic fieldwork and media sources, this article examines two locations in Tokyo in which K-pop consumption takes place. Contrary to the polarization tendencies that signify current Japan–Korea relations in the political realm, the gendered K-pop spaces and Japan–Korea collaborations such as Iz One signify benign hybridity and localization.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"899 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835130","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}
In recent years, hostility towards Asian boys love (BL) media and fans in western English-speaking fandoms has been growing. This has manifested in anti-BL and anti-fujoshi anti-fans, many of whom express the general notion that queer western media is morally good and queer Asian media is morally bad. This division has encouraged a dehumanizing environment and some of these anti-fans consider their prejudiced behaviour morally justified and necessary. Their proposed aim is to maintain the moral sanctity of LGBTQ+ representation in their western English-speaking fan spaces. This article explores what drives this division and how BL and fujoshi specifically came to be so vilified in parts of LGBTQ+ western English-speaking fandom. The origins of this growing desire for LGBTQ+ moral sanctity in western English-speaking fandom are critiqued and how anti-trans gender critical beliefs in online communities came to affect western English-speaking fans’ perceptions of BL and fujoshi is revealed.
{"title":"The influence of transphobia, homonationalism and anti-Asian prejudice: Anti-BL attitudes in English-speaking fandoms","authors":"Samantha Aburime","doi":"10.1386/eapc_00119_1","DOIUrl":"https://doi.org/10.1386/eapc_00119_1","url":null,"abstract":"In recent years, hostility towards Asian boys love (BL) media and fans in western English-speaking fandoms has been growing. This has manifested in anti-BL and anti-fujoshi anti-fans, many of whom express the general notion that queer western media is morally good and queer Asian media is morally bad. This division has encouraged a dehumanizing environment and some of these anti-fans consider their prejudiced behaviour morally justified and necessary. Their proposed aim is to maintain the moral sanctity of LGBTQ+ representation in their western English-speaking fan spaces. This article explores what drives this division and how BL and fujoshi specifically came to be so vilified in parts of LGBTQ+ western English-speaking fandom. The origins of this growing desire for LGBTQ+ moral sanctity in western English-speaking fandom are critiqued and how anti-trans gender critical beliefs in online communities came to affect western English-speaking fans’ perceptions of BL and fujoshi is revealed.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"182 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139834807","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}
Ming-Yeh T. Rawnsley, Wyatt Moss-Wellington, Y. Loo
This article contributes to two relatively under-researched areas in the existing literature of Taiwanese popular culture and film studies – Taiwanese-language films (taiyupian) and port city cinema. We compare five case studies in Taiwanese-language port city cinema: Anping zhuixiang qu (Nostalgic Song of Anping) (Chen Yang 1969), Huilai anping gang (Back to Anping Harbor) (Wu Feijian 1972), Fenggui lai de ren (The Boys from Fengkuei) (Hou Hsiao-Hsien 1983), Haijiao qi hao (Cape No.7) (Wei Te-Sheng 2008) and角頭 Jiao tou (Gatau) (Li Yunjie 2015). Across each case, we analyse how the cinematic representation of port cities may have reflected social and cultural developments, changing (and unchanged) Taiwanese intersectional and cultural identities from the 1960s to the twenty-first century.
{"title":"Representation of intersectional and cultural identities in Taiwanese-language port city cinema","authors":"Ming-Yeh T. Rawnsley, Wyatt Moss-Wellington, Y. Loo","doi":"10.1386/eapc_00117_1","DOIUrl":"https://doi.org/10.1386/eapc_00117_1","url":null,"abstract":"This article contributes to two relatively under-researched areas in the existing literature of Taiwanese popular culture and film studies – Taiwanese-language films (taiyupian) and port city cinema. We compare five case studies in Taiwanese-language port city cinema: Anping zhuixiang qu (Nostalgic Song of Anping) (Chen Yang 1969), Huilai anping gang (Back to Anping Harbor) (Wu Feijian 1972), Fenggui lai de ren (The Boys from Fengkuei) (Hou Hsiao-Hsien 1983), Haijiao qi hao (Cape No.7) (Wei Te-Sheng 2008) and角頭 Jiao tou (Gatau) (Li Yunjie 2015). Across each case, we analyse how the cinematic representation of port cities may have reflected social and cultural developments, changing (and unchanged) Taiwanese intersectional and cultural identities from the 1960s to the twenty-first century.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"49 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139775492","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}
In SMAP’s post-break-up social media output, there was a shift in the kind of masculinity embodied by the performers: from the beautiful, sexually desirable mode of masculinity associated with their Heisei heyday to a more vulnerable mode of masculinity that emphasized intimacy and authenticity. I call this more recent mode of masculinity ‘entrepreneurial masculinity’, drawing on Akiko Takeyama’s study of male hosts, who use romance, emotion and intimacy to connect with customers. From an object of desire, particularly sexual desire, the male body changes to an entity associated with vulnerability. This article explores different kinds of vulnerability in SMAP’s post-break-up output, particularly in social media posts by member Katori Shingo: vulnerability to loneliness, vulnerability to social and economic precarity and vulnerability to violence. This shift with regard to the body and masculinity in idol culture reflects trends of increased social and economic precarity in neo-liberal Japan.
{"title":"The break-up of SMAP and the rise of entrepreneurial masculinity in 2010s Japan","authors":"Marianne Tarcov","doi":"10.1386/eapc_00118_1","DOIUrl":"https://doi.org/10.1386/eapc_00118_1","url":null,"abstract":"In SMAP’s post-break-up social media output, there was a shift in the kind of masculinity embodied by the performers: from the beautiful, sexually desirable mode of masculinity associated with their Heisei heyday to a more vulnerable mode of masculinity that emphasized intimacy and authenticity. I call this more recent mode of masculinity ‘entrepreneurial masculinity’, drawing on Akiko Takeyama’s study of male hosts, who use romance, emotion and intimacy to connect with customers. From an object of desire, particularly sexual desire, the male body changes to an entity associated with vulnerability. This article explores different kinds of vulnerability in SMAP’s post-break-up output, particularly in social media posts by member Katori Shingo: vulnerability to loneliness, vulnerability to social and economic precarity and vulnerability to violence. This shift with regard to the body and masculinity in idol culture reflects trends of increased social and economic precarity in neo-liberal Japan.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"31 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139776014","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}
Ming-Yeh T. Rawnsley, Wyatt Moss-Wellington, Y. Loo
This article contributes to two relatively under-researched areas in the existing literature of Taiwanese popular culture and film studies – Taiwanese-language films (taiyupian) and port city cinema. We compare five case studies in Taiwanese-language port city cinema: Anping zhuixiang qu (Nostalgic Song of Anping) (Chen Yang 1969), Huilai anping gang (Back to Anping Harbor) (Wu Feijian 1972), Fenggui lai de ren (The Boys from Fengkuei) (Hou Hsiao-Hsien 1983), Haijiao qi hao (Cape No.7) (Wei Te-Sheng 2008) and角頭 Jiao tou (Gatau) (Li Yunjie 2015). Across each case, we analyse how the cinematic representation of port cities may have reflected social and cultural developments, changing (and unchanged) Taiwanese intersectional and cultural identities from the 1960s to the twenty-first century.
{"title":"Representation of intersectional and cultural identities in Taiwanese-language port city cinema","authors":"Ming-Yeh T. Rawnsley, Wyatt Moss-Wellington, Y. Loo","doi":"10.1386/eapc_00117_1","DOIUrl":"https://doi.org/10.1386/eapc_00117_1","url":null,"abstract":"This article contributes to two relatively under-researched areas in the existing literature of Taiwanese popular culture and film studies – Taiwanese-language films (taiyupian) and port city cinema. We compare five case studies in Taiwanese-language port city cinema: Anping zhuixiang qu (Nostalgic Song of Anping) (Chen Yang 1969), Huilai anping gang (Back to Anping Harbor) (Wu Feijian 1972), Fenggui lai de ren (The Boys from Fengkuei) (Hou Hsiao-Hsien 1983), Haijiao qi hao (Cape No.7) (Wei Te-Sheng 2008) and角頭 Jiao tou (Gatau) (Li Yunjie 2015). Across each case, we analyse how the cinematic representation of port cities may have reflected social and cultural developments, changing (and unchanged) Taiwanese intersectional and cultural identities from the 1960s to the twenty-first century.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"913 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835217","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}
Review of: History and Popular Memory: The Power of Story in Moments of Crisis , Paul A. Cohen (2017) New York: Columbia University Press, 279 pp., ISBN 978-0-23116-637-9, p/bk, $27
{"title":"History and Popular Memory: The Power of Story in Moments of Crisis, Paul A. Cohen (2017)","authors":"Maria Faust","doi":"10.1386/eapc_00113_5","DOIUrl":"https://doi.org/10.1386/eapc_00113_5","url":null,"abstract":"Review of: History and Popular Memory: The Power of Story in Moments of Crisis , Paul A. Cohen (2017) New York: Columbia University Press, 279 pp., ISBN 978-0-23116-637-9, p/bk, $27","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134962221","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}
Review of: Found in Translation: ‘New People’ in Twentieth-Century Chinese Science Fiction , Jing Jiang (2021) Ann Arbor, MI: Association for Asian Studies, 144 pp., ISBN 978-0-92430-494-1, p/bk, £9.50 The Reincarnated Giant: An Anthology of Twenty-First Century Chinese Science Fiction , Mingwei Song and Theodore Huters (eds) (2018) New York: Columbia University Press, 448 pp., ISBN 978-0-23118-023-8, p/bk, £22.76 Socialist Cosmopolitanism: The Chinese Literary Universe, 1945–1965 , Nicolai Volland (2017) New York: Columbia University Press, 304 pp., ISBN 978-0-23118-311-6, p/bk, £22.48
{"title":"Found in Translation: ‘New People’ in Twentieth-Century Chinese Science Fiction, Jing Jiang (2021)","authors":"Christopher N. Payne","doi":"10.1386/eapc_00112_5","DOIUrl":"https://doi.org/10.1386/eapc_00112_5","url":null,"abstract":"Review of: Found in Translation: ‘New People’ in Twentieth-Century Chinese Science Fiction , Jing Jiang (2021) Ann Arbor, MI: Association for Asian Studies, 144 pp., ISBN 978-0-92430-494-1, p/bk, £9.50 The Reincarnated Giant: An Anthology of Twenty-First Century Chinese Science Fiction , Mingwei Song and Theodore Huters (eds) (2018) New York: Columbia University Press, 448 pp., ISBN 978-0-23118-023-8, p/bk, £22.76 Socialist Cosmopolitanism: The Chinese Literary Universe, 1945–1965 , Nicolai Volland (2017) New York: Columbia University Press, 304 pp., ISBN 978-0-23118-311-6, p/bk, £22.48","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134962231","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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