Pub Date : 2021-07-05DOI: 10.37522/AAAV.99.2020.10
Jogintė Bučinskaitė
Straipsnyje gvildenamas šiuolaikinio meno parodų fotodokumen- tavimas. Teigiama, kad per pastaruosius kelis dešimtmečius išaugęs parodų atvaizdus skelbiančių internetinių platformų skaičius yra susijęs su paki- tusiais legitimavimo mechanizmais, tam tikro, ypač postinternetinio, meno kūrybinėmis strategijomis ir fizinių galerijų vaidmens nuvertėjimu. Apta- riant fotografijos kaip ne tik meno kūrinius atspindinčio, bet ir juos stei- giančio įrankio svarbą, siekiama parodyti kintančią parodų fotodokumen- tacijų reikšmę ir šiomis aplinkybėmis vykstantį vizualinės reprezentacijos posūkį, kai iš retrospektyvios ji tampa prospektyvi, t. y. einanti pirma.
{"title":"Parodų fotodokumentacijos ir kintantis jų vaidmuo","authors":"Jogintė Bučinskaitė","doi":"10.37522/AAAV.99.2020.10","DOIUrl":"https://doi.org/10.37522/AAAV.99.2020.10","url":null,"abstract":"\u0000 \u0000 \u0000Straipsnyje gvildenamas šiuolaikinio meno parodų fotodokumen- tavimas. Teigiama, kad per pastaruosius kelis dešimtmečius išaugęs parodų atvaizdus skelbiančių internetinių platformų skaičius yra susijęs su paki- tusiais legitimavimo mechanizmais, tam tikro, ypač postinternetinio, meno kūrybinėmis strategijomis ir fizinių galerijų vaidmens nuvertėjimu. Apta- riant fotografijos kaip ne tik meno kūrinius atspindinčio, bet ir juos stei- giančio įrankio svarbą, siekiama parodyti kintančią parodų fotodokumen- tacijų reikšmę ir šiomis aplinkybėmis vykstantį vizualinės reprezentacijos posūkį, kai iš retrospektyvios ji tampa prospektyvi, t. y. einanti pirma. \u0000 \u0000 \u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46846766","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 : 2021-06-23DOI: 10.37522/aaav.104.2022.94
T. Kazantseva
The article considers the history of the origin and development of the Regional Factory of Tile Stoves in Lviv, using the development of other ceramic institutions as a background. The owners of the factory have been identified as Berl Neuwohner, Neuwohner’s partner, Filip Waldmann (Waldman), and the Kubin, Brich and Korzeniowski company, which merged with the factory. The contribution of the current director of the factory, Oksana Chepurna, to the continuity of the factory work and the variety and quality of the production has been analyzed. The range of factory products, the stylistics and colors of the tiles, and their raw materials as well as use of factory products on the facades and interiors of Lviv buildings are described.
{"title":"The Berl Neuwohner and Filip Waldmann Regional Factory of Tile Stoves in Lviv","authors":"T. Kazantseva","doi":"10.37522/aaav.104.2022.94","DOIUrl":"https://doi.org/10.37522/aaav.104.2022.94","url":null,"abstract":"\u0000\u0000\u0000The article considers the history of the origin and development of the Regional Factory of Tile Stoves in Lviv, using the development of other ceramic institutions as a background. The owners of the factory have been identified as Berl Neuwohner, Neuwohner’s partner, Filip Waldmann (Waldman), and the Kubin, Brich and Korzeniowski company, which merged with the factory. The contribution of the current director of the factory, Oksana Chepurna, to the continuity of the factory work and the variety and quality of the production has been analyzed. The range of factory products, the stylistics and colors of the tiles, and their raw materials as well as use of factory products on the facades and interiors of Lviv buildings are described.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41443337","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 : 2021-06-13DOI: 10.37522/aaav.104.2022.98
Hilkka Hiiop, Anu Soojärv, Varje Õunapuu
The article introduces the usage of ceramics in Estonian monu mental art in the postwar modernist era by presenting two examples involving artworks created in 1967 and 1978. Both murals have recently undergone conservation by specialists from the Department of Heritage Protection and Conservation of the Estonian Academy of Arts. In both cases, the conservation teams were able to interview and consult the artists who created the compositions.
{"title":"Applied Artists as Creators of Ceramic Monumental Art in Soviet Estonia: The Past and the Future","authors":"Hilkka Hiiop, Anu Soojärv, Varje Õunapuu","doi":"10.37522/aaav.104.2022.98","DOIUrl":"https://doi.org/10.37522/aaav.104.2022.98","url":null,"abstract":"\u0000\u0000\u0000The article introduces the usage of ceramics in Estonian monu mental art in the postwar modernist era by presenting two examples involving artworks created in 1967 and 1978. Both murals have recently undergone conservation by specialists from the Department of Heritage Protection and Conservation of the Estonian Academy of Arts. In both cases, the conservation teams were able to interview and consult the artists who created the compositions.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42858585","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 : 2021-06-01DOI: 10.37522/aaav.101.2021.68
Agnė Zemkajutė
The article discusses the cloth-bound and decorated books stored in the Rare Books Department of the Wroblewski Library of the Lithuanian Academy of Sciences, and expands on the use of textile depending on the content of the book and its purpose.
{"title":"Adorned in Silk: The Use of Fabric in the Bindings of the Old Books Stored in Wroblewski Library at the Lithuanian Academy of Sciences","authors":"Agnė Zemkajutė","doi":"10.37522/aaav.101.2021.68","DOIUrl":"https://doi.org/10.37522/aaav.101.2021.68","url":null,"abstract":"\u0000\u0000\u0000The article discusses the cloth-bound and decorated books stored in the Rare Books Department of the Wroblewski Library of the Lithuanian Academy of Sciences, and expands on the use of textile depending on the content of the book and its purpose.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44493483","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 : 2021-06-01DOI: 10.37522/aaav.104.2022.93
M. Baeck
The enormous popularity of decorated industrial wall and floor tiles in Europe in the years 1840–1940 is strongly linked to the standardization, technical quality, and aesthetic variety of the products that were well marketed through often lavishly colored trade catalogues. More than the study of existing tile schemes in interiors, a systematic study of these trade catalogues leads to a better understanding of the general use of tile in the nineteenth- and twentieth-century interior. They inform us about factories and offer invaluable information on the technical and aesthetic evolution of tiles. They help us to date the designs and acquire a better knowledge of changes in taste in applying them. They are also a valuable source for documenting differences and similarities between factories and countries in matters of tile design and reveal opportunities to better understand the global export success or stylistic influence of many European factories in other countries on the continent as well as overseas. In this paper a general and theoretical approach is elucidated by referring to concrete cases based on a research collection of more than 600 tile catalogues from all over the world.
{"title":"Tiled Interiors on Paper: Trade Catalogues as a Key Source to Understand the Use of Floor and Wall Tiles in European Interiors","authors":"M. Baeck","doi":"10.37522/aaav.104.2022.93","DOIUrl":"https://doi.org/10.37522/aaav.104.2022.93","url":null,"abstract":"\u0000\u0000\u0000The enormous popularity of decorated industrial wall and floor tiles in Europe in the years 1840–1940 is strongly linked to the standardization, technical quality, and aesthetic variety of the products that were well marketed through often lavishly colored trade catalogues.\u0000More than the study of existing tile schemes in interiors, a systematic study of these trade catalogues leads to a better understanding of the general use of tile in the nineteenth- and twentieth-century interior. They inform us about factories and offer invaluable information on the technical and aesthetic evolution of tiles. They help us to date the designs and acquire a better knowledge of changes in taste in applying them. They are also a valuable source for documenting differences and similarities between factories and countries in matters of tile design and reveal opportunities to better understand the global export success or stylistic influence of many European factories in other countries on the continent as well as overseas.\u0000In this paper a general and theoretical approach is elucidated by referring to concrete cases based on a research collection of more than 600 tile catalogues from all over the world.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42150804","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 : 2021-05-24DOI: 10.37522/aaav.104.2022.97
Raimonda Simanaitienė
Straipsnyje analizuojamas dailininko Vaclovo Miknevičiaus daugiašakės keramikos palikimas. Šio menininko kūryba tyrimui pasirinkta, kaip dėsningai atspindinti esminius XX a. vidurio ir antros pusės Lietuvos autorinės, pramoninės ir architektūrinės keramikos pokyčius. Jai būdinga dauguma meninių tendencijų, išryškėjusių minėto laikotarpio stilistinėje raidoje. Tai art deco kryptis, liaudies meno įtaka, konstruktyvaus dizaino apraiškos, dažniausiai atsiskleidusios keramikos indų formose bei dekore, taip pat ekspresyvi arba, atvirkščiai, minimali plastika, vyravusi monumentaliuose keramiko darbuose. Reikšminga ir tai, kad tarpukario pabaigoje, steigdamas keramikos dirbtuves, o vėliau ilgą laiką kurdamas Kauno „Dailės“ kombinate, Miknevičius turėjo nemažos įtakos Lietuvos keramikos gamybos vystymuisi. Todėl straipsnyje išsamiai nagrinėjami ir su gamybiniais pasiekimais susieti jo kūrybinės veiklos aspektai, akcentuojamas dailininko indėlis pramoninės keramikos srityje. Taip pat išryškinami unikalūs technologiniai eksperimentai, vykdyti „Dailės“ kombinate, įgyvendinant buitinių ir dekoratyvinių dirbinių pavyzdžius ir monumentalios keramikos užsakymus.
{"title":"Vaclovo Miknevičiaus kūryba pramoninės ir architektūrinės keramikos srityse","authors":"Raimonda Simanaitienė","doi":"10.37522/aaav.104.2022.97","DOIUrl":"https://doi.org/10.37522/aaav.104.2022.97","url":null,"abstract":"\u0000\u0000\u0000Straipsnyje analizuojamas dailininko Vaclovo Miknevičiaus daugiašakės keramikos palikimas. Šio menininko kūryba tyrimui pasirinkta, kaip dėsningai atspindinti esminius XX a. vidurio ir antros pusės Lietuvos autorinės, pramoninės ir architektūrinės keramikos pokyčius. Jai būdinga dauguma meninių tendencijų, išryškėjusių minėto laikotarpio stilistinėje raidoje. Tai art deco kryptis, liaudies meno įtaka, konstruktyvaus dizaino apraiškos, dažniausiai atsiskleidusios keramikos indų formose bei dekore, taip pat ekspresyvi arba, atvirkščiai, minimali plastika, vyravusi monumentaliuose keramiko darbuose. Reikšminga ir tai, kad tarpukario pabaigoje, steigdamas keramikos dirbtuves, o vėliau ilgą laiką kurdamas Kauno „Dailės“ kombinate, Miknevičius turėjo nemažos įtakos Lietuvos keramikos gamybos vystymuisi. Todėl straipsnyje išsamiai nagrinėjami ir su gamybiniais pasiekimais susieti jo kūrybinės veiklos aspektai, akcentuojamas dailininko indėlis pramoninės keramikos srityje. Taip pat išryškinami unikalūs technologiniai eksperimentai, vykdyti „Dailės“ kombinate, įgyvendinant buitinių ir dekoratyvinių dirbinių pavyzdžius ir monumentalios keramikos užsakymus.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48953903","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 : 2021-05-20DOI: 10.37522/aaav.101.2021.69
Kristiāna Ābele
The article is the first attempt to give a focused analysis of the annual art and architecture periodical Jahrbuch für bildende Kunst in den Ostseeprovinzen that was published by the Riga Society of Architects in 1907–1913 (since 1911 as Jahrbuch der bildenden Kunst in den Ostseeprovinzen). The main aspects of interpretation include the aesthetic programme of this yearbook and a chronology of its implementation, prehistory, models and context, qualities of design and typography, identity of designers, highlights of the visual and textual content, scope of and gaps in national and regional representation, as well as influence on other initiatives in the field of art periodicals.
这篇文章首次尝试对里加建筑师协会于1907年至1913年出版的年度艺术和建筑期刊《Jahrbuch-fuêr bildende Kunst in den Ostseeprovinzen》进行重点分析（自1911年以来，该期刊名为《Jahrbusch-der bilden-Kunst inden Ostspeeprovinzen》）。解读的主要方面包括本年鉴的美学计划及其实施年表、史前史、模型和背景、设计和排版的质量、设计师的身份、视觉和文本内容的亮点、国家和地区代表性的范围和差距，以及对艺术期刊领域其他举措的影响。
{"title":"Joining Forces for the Art of the Homeland: The Jahrbuch für bildende Kunst in den Ostseeprovinzen (1907–1913) from the Perspectives of Artistic Collaboration, Visual Documentation, Design and Typography","authors":"Kristiāna Ābele","doi":"10.37522/aaav.101.2021.69","DOIUrl":"https://doi.org/10.37522/aaav.101.2021.69","url":null,"abstract":"\u0000\u0000\u0000The article is the first attempt to give a focused analysis of the annual art and architecture periodical Jahrbuch für bildende Kunst in den Ostseeprovinzen that was published by the Riga Society of Architects in 1907–1913 (since 1911 as Jahrbuch der bildenden Kunst in den Ostseeprovinzen). The main aspects of interpretation include the aesthetic programme of this yearbook and a chronology of its implementation, prehistory, models and context, qualities of design and typography, identity of designers, highlights of the visual and textual content, scope of and gaps in national and regional representation, as well as influence on other initiatives in the field of art periodicals.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47750205","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 : 2021-05-20DOI: 10.37522/aaav.101.2021.77
Agnė Narušytė
The independent Lithuanian publisher NoRoutine Books, founded by Vilma Samulionytė and Gytis Skudžinskas in 2014, has produced 15 photobooks. They treat the photobook as a medium which has its own material qualities, its own language and ways of producing meaning. The strictly kept print run of 99 copies not only turns the books into rare collectible items, but also functions as a statement about the books as objects to be appreciated and read slowly, with pleasure, while taking time to decipher the message conveyed by the structure of the book. In order to demonstrate how such a reading works, the article discusses five books.
{"title":"Non-Routine Aesthetics: A Phenomenological Reading of NoRoutine Books","authors":"Agnė Narušytė","doi":"10.37522/aaav.101.2021.77","DOIUrl":"https://doi.org/10.37522/aaav.101.2021.77","url":null,"abstract":"\u0000\u0000\u0000The independent Lithuanian publisher NoRoutine Books, founded by Vilma Samulionytė and Gytis Skudžinskas in 2014, has produced 15 photobooks. They treat the photobook as a medium which has its own material qualities, its own language and ways of producing meaning. The strictly kept print run of 99 copies not only turns the books into rare collectible items, but also functions as a statement about the books as objects to be appreciated and read slowly, with pleasure, while taking time to decipher the message conveyed by the structure of the book. In order to demonstrate how such a reading works, the article discusses five books.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44034212","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 : 2021-05-17DOI: 10.37522/aaav.104.2022.96
Ojārs Spārītis
The article discusses sculptural decoration of the façades of the Riga Stock Exchange building (1852–1860, architect Harald Bosse), which consists of terracotta sculptures and medallions with emblematic and allegorical content created in the workshop of the Danish sculptor David Jensen in St. Petersburg. When developing the design of the Stock Exchange building in the Venetian Renaissance forms, the architect Harald Bosse intended to enrich its façades with sculptures and reliefs illustrative of the Riga Stock Exchange transactions.
{"title":"Terracotta Sculpture on the Riga Stock Exchange Façade: Interpretation of Content and Form","authors":"Ojārs Spārītis","doi":"10.37522/aaav.104.2022.96","DOIUrl":"https://doi.org/10.37522/aaav.104.2022.96","url":null,"abstract":"\u0000\u0000\u0000The article discusses sculptural decoration of the façades of the Riga Stock Exchange building (1852–1860, architect Harald Bosse), which consists of terracotta sculptures and medallions with emblematic and allegorical content created in the workshop of the Danish sculptor David Jensen in St. Petersburg. When developing the design of the Stock Exchange building in the Venetian Renaissance forms, the architect Harald Bosse intended to enrich its façades with sculptures and reliefs illustrative of the Riga Stock Exchange transactions.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44077183","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}
Straipsnyje tiriamas teisėsauginės fotografijos tapsmas Rusijos valdytose istorinėse Lietuvos žemėse. Siekiama atsakyti į klausimus, kaip XIX a. keitėsi asmens tapatybės samprata, kokioms Lietuvos gyventojų grupėms caro administracija fotografinės identifikacijos metodą pradėjo taikyti pirmiausia, kas lėmė būtent šių grupių išskyrimą, kaip vizualinė visuomenės priežiūra buvo vykdoma ir kuo Šiaurės vakarų teritorijoje praktikuoti būdai skyrėsi nuo vaizdinės kontrolės kituose Romanovų imperijos regionuose. Kartu aptariamas fotografijos, kaip moralės ir politikos požiūriu pavojingos medijos, statusas bei mėginimas XX a. pradžioje liberalizuotiteisinį jos reglamentavimą.
{"title":"Stebėti ir užkardyti. Fotografija Rusijos imperijos teisėsaugoje: lietuviškieji kontekstai","authors":"Jolita Mulevičiūtė","doi":"10.37522/aaav.99.2020.2","DOIUrl":"https://doi.org/10.37522/aaav.99.2020.2","url":null,"abstract":"Straipsnyje tiriamas teisėsauginės fotografijos tapsmas Rusijos valdytose istorinėse Lietuvos žemėse. Siekiama atsakyti į klausimus, kaip XIX a. keitėsi asmens tapatybės samprata, kokioms Lietuvos gyventojų grupėms caro administracija fotografinės identifikacijos metodą pradėjo taikyti pirmiausia, kas lėmė būtent šių grupių išskyrimą, kaip vizualinė visuomenės priežiūra buvo vykdoma ir kuo Šiaurės vakarų teritorijoje praktikuoti būdai skyrėsi nuo vaizdinės kontrolės kituose Romanovų imperijos regionuose. Kartu aptariamas fotografijos, kaip moralės ir politikos požiūriu pavojingos medijos, statusas bei mėginimas XX a. pradžioje liberalizuotiteisinį jos reglamentavimą.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45006614","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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