The ongoing recession has provided new layers in the tangible and intangible palimpsests in the city of Athens, especially in its neglected urban pockets that can be central but always outside the city’s normal, social life. This article arises from my experience of participating in a cleaning activity under the Anapafseos Street Bridge over the encased Ilissos River in central Athens in September 2010. In it I challenge the official rhetoric regarding the use of marginal sites for parasitic activities, by re-appropriating urban waste into empirical evidence and attempting to read through the lines of the graffiti left behind by a community of migrants that used the bridge as a temporary camp site. By providing an alternative reading of the bridge as an in-between place, this article seeks to problematize the assimilation of hidden communities in the city. It can also be considered as a gesture of contemporary-urban archaeology, a way to both approach and understand these communities in a form of a publicly engaged and politically relevant archaeological practice.
{"title":"The archaeology of in-between places: Finds under the Ilissos River bridge in Athens","authors":"Stelios Lekakis","doi":"10.1386/jgmc.5.2.151_1","DOIUrl":"https://doi.org/10.1386/jgmc.5.2.151_1","url":null,"abstract":"The ongoing recession has provided new layers in the tangible and intangible palimpsests in the city of Athens, especially in its neglected urban pockets that can be central but always outside the city’s normal, social life. This article arises from my experience of participating\u0000 in a cleaning activity under the Anapafseos Street Bridge over the encased Ilissos River in central Athens in September 2010. In it I challenge the official rhetoric regarding the use of marginal sites for parasitic activities, by re-appropriating urban waste into empirical evidence and attempting\u0000 to read through the lines of the graffiti left behind by a community of migrants that used the bridge as a temporary camp site. By providing an alternative reading of the bridge as an in-between place, this article seeks to problematize the assimilation of hidden communities in the city. It\u0000 can also be considered as a gesture of contemporary-urban archaeology, a way to both approach and understand these communities in a form of a publicly engaged and politically relevant archaeological practice.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jgmc.5.2.151_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44466558","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}
Crisis recontextualized numerous visual projects, regardless of their authors’ intentions or their initial context of production. Eventually framing our perception of visual production, including the photographic, crisis can now be detected even within pictures and visual narratives which diligently avoid depicting it, or reflect it at a tangent. Expanding on this perception, in this visual essay I will discuss a mode of photographic documentation and interpretation of the Greek crisis in which urban space engages with the recent sociopolitical situation, albeit not always in a straightforward manner. In the first part, I briefly discuss the current context of photography output in Greece, focusing on photographers who made urban space central to their exploration of recent conditions. What many of them share, I argue, is an interest in the commonplace, an aspect of urban landscape which used to be dismissed as insignificant and without interest. I then focus on Nikos Panayotopoulos’s research project Terra Cognita, which I examine as a trailblazing example of this trend. Thoroughly documenting Athens from early 2000 until the end of 2008, namely the period before, during and after the so-called ‘glory days’ of the 2004 Olympics, and portraying a landscape already in decline, this project came to suggest that crisis was here long before we recognized it as such.
{"title":"The everlasting crisis: Representing the contemporary Athenian cityscape","authors":"Penelope Petsini","doi":"10.1386/jgmc.5.2.263_1","DOIUrl":"https://doi.org/10.1386/jgmc.5.2.263_1","url":null,"abstract":"Crisis recontextualized numerous visual projects, regardless of their authors’ intentions or their initial context of production. Eventually framing our perception of visual production, including the photographic, crisis can now be detected even within pictures and visual narratives\u0000 which diligently avoid depicting it, or reflect it at a tangent. Expanding on this perception, in this visual essay I will discuss a mode of photographic documentation and interpretation of the Greek crisis in which urban space engages with the recent sociopolitical situation, albeit not always\u0000 in a straightforward manner. In the first part, I briefly discuss the current context of photography output in Greece, focusing on photographers who made urban space central to their exploration of recent conditions. What many of them share, I argue, is an interest in the commonplace, an aspect\u0000 of urban landscape which used to be dismissed as insignificant and without interest. I then focus on Nikos Panayotopoulos’s research project Terra Cognita, which I examine as a trailblazing example of this trend. Thoroughly documenting Athens from early 2000 until the end of 2008, namely\u0000 the period before, during and after the so-called ‘glory days’ of the 2004 Olympics, and portraying a landscape already in decline, this project came to suggest that crisis was here long before we recognized it as such.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42042474","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}
This article focuses on the atenistas, an Athenian citizens’ group formed in the fall of 2010 at the outset of the Greek debt crisis. The atenistas’ anti-political stance soon revealed itself to be an anti-left position, amenable to the emerging neo-liberal ethics of austerity and the collapse of the post-dictatorship ideologically-oriented party system. Based on ethnographic consideration of the group’s programmatic statements and interventions in public spaces, I parse key features of their ‘actions’ (draseis) online and off (ephemerality, theatricality, repetitiveness, didacticism, nomadism) in connection to new media participatory culture (flash mobs, social media visuality, networked affect, makeover reality television) and contemporary urban practices and processes (city rebranding, gentrification, urban gardening, lifestyle sports, occupy social movements). I highlight the salience of the environment, aesthetics and the everyday lifeworld to the group’s bid to remake the image of Athens (as logo, habitat and gym) and, thus, reformulate civic action as an activism without politics, recasting traditionally public functions as matters of individual responsibility.
{"title":"Athens as logo, habitat and gym: City branding, makeover politics and Athenians in-deed","authors":"P. Papailias","doi":"10.1386/jgmc.5.2.125_1","DOIUrl":"https://doi.org/10.1386/jgmc.5.2.125_1","url":null,"abstract":"This article focuses on the atenistas, an Athenian citizens’ group formed in the fall of 2010 at the outset of the Greek debt crisis. The atenistas’ anti-political stance soon revealed itself to be an anti-left position, amenable to the emerging neo-liberal ethics of austerity\u0000 and the collapse of the post-dictatorship ideologically-oriented party system. Based on ethnographic consideration of the group’s programmatic statements and interventions in public spaces, I parse key features of their ‘actions’ (draseis) online and off (ephemerality,\u0000 theatricality, repetitiveness, didacticism, nomadism) in connection to new media participatory culture (flash mobs, social media visuality, networked affect, makeover reality television) and contemporary urban practices and processes (city rebranding, gentrification, urban gardening, lifestyle\u0000 sports, occupy social movements). I highlight the salience of the environment, aesthetics and the everyday lifeworld to the group’s bid to remake the image of Athens (as logo, habitat and gym) and, thus, reformulate civic action as an activism without politics, recasting traditionally\u0000 public functions as matters of individual responsibility.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jgmc.5.2.125_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42935906","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}
During the last years ‐ within a constantly deepening social, political and economic crisis ‐ Athens’s public space appears challenging, presenting a character of ongoing re-evaluation and change. It is due to the impact of the crisis, for example, that the city’s public space is being approached once more by many citizens who, during the years before the recession, had chosen to transfer main activities and functions of public life to the more protected sphere of privateness. One notices the return to open spaces by locals not only for leisure but also for social interaction. Most emphatically, however, appears the fact of a rising number of population in need, such as homeless people, immigrants or refugees, who host aspects of their private life in the public sphere: most of the times, they are not only users, but rather habitants of public space, in a transitional situation of social suspension, lacking a sense of belonging. Under the light of the city’s different realities, and of an expected social co-existence, the article aims to present the practice of artists who become active in Athens’s public spaces of social ambivalence in Athens, by realizing socially engaged art projects. By focusing on case studies such as Nomadic Architecture Network’s projects, the Victoria Square Project by Rick Lowe and Maria Papadimitriou, Common Platforms, a Blind Date by Adonis Volanakis, along with Rafika Chawishe, or the UrbanDig_Omonia by the UrbanDig Project in Omonia square, among others, the article highlights the artists’ interest in understanding the historical and cultural dynamics of each area and in working with different participants of the community in an effort to find common ground and to create bonds among individuals of unalike backgrounds. The article shows how such artistic practices become a channel of creative expression and fruitful dialogue in environments of precariousness and intolerance. Showing the importance of cooperation and understanding, socially engaged art projects function positively as collaborative ‘heterotopias’ in turbulent times for Athens.
{"title":"Space in common: Socially engaged art in the Athens of crisis","authors":"Charis Kanellopoulou","doi":"10.1386/jgmc.5.2.211_1","DOIUrl":"https://doi.org/10.1386/jgmc.5.2.211_1","url":null,"abstract":"During the last years ‐ within a constantly deepening social, political and economic crisis ‐ Athens’s public space appears challenging, presenting a character of ongoing re-evaluation and change. It is due to the impact of the crisis, for example, that the city’s\u0000 public space is being approached once more by many citizens who, during the years before the recession, had chosen to transfer main activities and functions of public life to the more protected sphere of privateness. One notices the return to open spaces by locals not only for leisure but\u0000 also for social interaction. Most emphatically, however, appears the fact of a rising number of population in need, such as homeless people, immigrants or refugees, who host aspects of their private life in the public sphere: most of the times, they are not only users, but rather habitants\u0000 of public space, in a transitional situation of social suspension, lacking a sense of belonging. Under the light of the city’s different realities, and of an expected social co-existence, the article aims to present the practice of artists who become active in Athens’s public spaces\u0000 of social ambivalence in Athens, by realizing socially engaged art projects. By focusing on case studies such as Nomadic Architecture Network’s projects, the Victoria Square Project by Rick Lowe and Maria Papadimitriou, Common Platforms, a Blind Date by Adonis Volanakis,\u0000 along with Rafika Chawishe, or the UrbanDig_Omonia by the UrbanDig Project in Omonia square, among others, the article highlights the artists’ interest in understanding the historical and cultural dynamics of each area and in working with different participants of the community\u0000 in an effort to find common ground and to create bonds among individuals of unalike backgrounds. The article shows how such artistic practices become a channel of creative expression and fruitful dialogue in environments of precariousness and intolerance. Showing the importance of cooperation\u0000 and understanding, socially engaged art projects function positively as collaborative ‘heterotopias’ in turbulent times for Athens.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48150381","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}
This article explores Parko Eleftherias (‘Liberty Park’) and Athens Polytechnic (Polytechneio), two historical places linked with the period of the Greek military Junta (1967‐74), and their position in the urban life of contemporary Athens. Focus is placed on the limits of artistic expression tolerated in those two historical places, examining different attitudes towards them. We discuss the so-called public programmes organized in the framework of documenta 14 (d14) in Parko Eleftherias, aiming to an extent to bring the dark heritage of the EAT-ESA (Eidiko Anakritiko Tmima ‐ Elliniki Stratiotiki Astynomia = Special Interrogation Centre ‐ Greek Military Police) into light. In the second part, we contrast that case, where all performances were conducted freely and under legal permission, with the 2015 Polytechneio graffiti incident, when artists covered overnight the southwestern façade of the neoclassical building with a gigantic oeuvre of street art that was removed by the authorities, given the illegal nature of the action. This contrast reveals the dynamic relationship between art narratives and attitudes towards monuments, which have followed different pathways of development after the Junta regime ended.
{"title":"Impossible is nothing (unless otherwise stated): Balancing between memory and art in Parko Eleftherias and the Polytechneio","authors":"Faidon Moudopoulos Athanasiou, D. Giannakis","doi":"10.1386/jgmc.5.2.185_1","DOIUrl":"https://doi.org/10.1386/jgmc.5.2.185_1","url":null,"abstract":"This article explores Parko Eleftherias (‘Liberty Park’) and Athens Polytechnic (Polytechneio), two historical places linked with the period of the Greek military Junta (1967‐74), and their position in the urban life of contemporary Athens. Focus is placed\u0000 on the limits of artistic expression tolerated in those two historical places, examining different attitudes towards them. We discuss the so-called public programmes organized in the framework of documenta 14 (d14) in Parko Eleftherias, aiming to an extent to bring the dark heritage of the\u0000 EAT-ESA (Eidiko Anakritiko Tmima ‐ Elliniki Stratiotiki Astynomia = Special Interrogation Centre ‐ Greek Military Police) into light. In the second part, we contrast that case, where all performances were conducted freely and under legal permission, with the 2015 Polytechneio\u0000 graffiti incident, when artists covered overnight the southwestern façade of the neoclassical building with a gigantic oeuvre of street art that was removed by the authorities, given the illegal nature of the action. This contrast reveals the dynamic relationship between art narratives\u0000 and attitudes towards monuments, which have followed different pathways of development after the Junta regime ended.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44133659","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}
{"title":"Eleni Papargyriou in conversation with Sofka Zinovieff","authors":"Eleni Papargyriou, Sofka Zinovieff","doi":"10.1386/JGMC.5.1.93_7","DOIUrl":"https://doi.org/10.1386/JGMC.5.1.93_7","url":null,"abstract":"","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42026081","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}
{"title":"Realism in Greek Cinema: From the Post-War Period to the Present, Vrasidas Karalis (2017)","authors":"A. Martin","doi":"10.1386/JGMC.5.1.101_5","DOIUrl":"https://doi.org/10.1386/JGMC.5.1.101_5","url":null,"abstract":"","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47488322","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}
{"title":"Modern Greek Literature through a Translator’s Lens, King’s College London, 23 January 2019","authors":"Martha Papaspiliou","doi":"10.1386/JGMC.5.1.105_5","DOIUrl":"https://doi.org/10.1386/JGMC.5.1.105_5","url":null,"abstract":"","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44221039","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}
Theo Angelopoulos has described Taxidi sta Kythira (Voyage to Cythera) (1984) as an attempt to ‘exorcise the past’ and offer the Greek audience a possibility to face the future without the traumas of the past. This article explores the question of the extent to which we can exorcise the past and asks if a future is possible without acknowledging the traumas of the past. Drawing upon cultural trauma theory, the article analyses the Greek Civil War (1946‐49) as a cultural trauma for the Greek Left, especially concerning the recognition of political prisoners and exiles. Psychoanalytic theory, on the other hand, suggests that a fundamental characteristic of trauma is the un-representability of the event itself, as a traumatic event is only known through its persistent reiterations. Through its multi-layered narrative structure and aesthetic strategies of deferral and displacement Voyage to Cythera stages the trauma of the Greek Civil War for both the returning exiles and the generation that followed. As a representation of presence through absence, the article considers Voyage to Cythera in terms of Thomas Elsaesser’s concept of the parapractic text and Max Silverman’s notion of palimpsestic memory whereby the film does not exorcise the past as such but reveals a past haunting the present. The article concludes with the reflection that a traumatic past has a tendency to return however much we may wish to lay it rest.
{"title":"History as trauma and the possibility of the future: Theo Angelopoulos’ Voyage to Cythera","authors":"S. Homer","doi":"10.1386/JGMC.5.1.3_1","DOIUrl":"https://doi.org/10.1386/JGMC.5.1.3_1","url":null,"abstract":"Theo Angelopoulos has described Taxidi sta Kythira (Voyage to Cythera) (1984) as an attempt to ‘exorcise the past’ and offer the Greek audience a possibility to face the future without the traumas of the past. This article explores the question of the extent\u0000 to which we can exorcise the past and asks if a future is possible without acknowledging the traumas of the past. Drawing upon cultural trauma theory, the article analyses the Greek Civil War (1946‐49) as a cultural trauma for the Greek Left, especially concerning the recognition of\u0000 political prisoners and exiles. Psychoanalytic theory, on the other hand, suggests that a fundamental characteristic of trauma is the un-representability of the event itself, as a traumatic event is only known through its persistent reiterations. Through its multi-layered narrative structure\u0000 and aesthetic strategies of deferral and displacement Voyage to Cythera stages the trauma of the Greek Civil War for both the returning exiles and the generation that followed. As a representation of presence through absence, the article considers Voyage to Cythera in terms of\u0000 Thomas Elsaesser’s concept of the parapractic text and Max Silverman’s notion of palimpsestic memory whereby the film does not exorcise the past as such but reveals a past haunting the present. The article concludes with the reflection that a traumatic past has a tendency to return\u0000 however much we may wish to lay it rest.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JGMC.5.1.3_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47579294","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}
Through field research on Greek second-generation migrants in Italy ‐ a hitherto unexplored and under-represented population ‐ this article examines their use of the Internet in a diasporic and transnational context. More specifically, it explores the ways in which the Greek second generation uses the Internet in order to maintain ties with Greece and seeks to understand the role that the Internet performs in the context of diaspora. Moreover, the diasporic media content on the Internet and the interconnection between online and offline worlds will be analysed in order to assess the impact of the Internet on diasporic networks and interpersonal relationships, especially with reference to critical events such as the Greek debt crisis. The research findings show that the maintenance of ties with the motherland is deeply affected by a mass-mediated imaginary that frequently transcends national space. The ease and frequency with which the Internet crosses borders produce undeniably new ways of imagining the place of origin and create alternatives to the nation state, in terms of emotional belonging and identifying transnationally with other diaspora members.
{"title":"The Internet in a diasporic and transnational context: A case study of a Greek community in Italy","authors":"Andrea Pelliccia","doi":"10.1386/JGMC.5.1.21_1","DOIUrl":"https://doi.org/10.1386/JGMC.5.1.21_1","url":null,"abstract":"Through field research on Greek second-generation migrants in Italy ‐ a hitherto unexplored and under-represented population ‐ this article examines their use of the Internet in a diasporic and transnational context. More specifically, it explores the ways in which the\u0000 Greek second generation uses the Internet in order to maintain ties with Greece and seeks to understand the role that the Internet performs in the context of diaspora. Moreover, the diasporic media content on the Internet and the interconnection between online and offline worlds will be analysed\u0000 in order to assess the impact of the Internet on diasporic networks and interpersonal relationships, especially with reference to critical events such as the Greek debt crisis. The research findings show that the maintenance of ties with the motherland is deeply affected by a mass-mediated\u0000 imaginary that frequently transcends national space. The ease and frequency with which the Internet crosses borders produce undeniably new ways of imagining the place of origin and create alternatives to the nation state, in terms of emotional belonging and identifying transnationally with\u0000 other diaspora members.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JGMC.5.1.21_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45406873","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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