In a number of European countries, entrusting the care of the extensive sets of collections owned by aristocrats to a special employee or employees had been customary since the Renaissance. The focus of this study is the period from the beginning of the 19th century to the end of the Second World War. Selected individuals who together represent approximately one hundred and fifty years of care for collections located in aristocratic residences are presented. The academy-trained painter František Horčička, the former town executioner Carl Huss and the husband-and-wife team Wilhelmina and Karl Vincenz Auersperg devoted themselves to collections in the 19th century, while professor Josef Schmoranz and lawyer Josef Polák did so in the first half of the 20th century.
& # x0D;& # x0D;& # x0D;在许多欧洲国家，自文艺复兴以来，将贵族拥有的大量收藏品委托给一名或多名特殊雇员保管已成为一种习俗。本研究的重点是从19世纪初到第二次世界大战结束这一时期。被选中的个人共同代表了大约一百五十年来对贵族住宅收藏的关注。受过学院教育的画家František hor i ka、前城镇刽子手卡尔·胡斯(Carl Huss)以及威廉敏娜(Wilhelmina)和卡尔·文森兹·奥尔斯伯格(Karl Vincenz Auersperg)夫妇在19世纪致力于收藏，而教授约瑟夫·施莫兰兹(Josef Schmoranz)和律师约瑟夫·Polák在20世纪上半叶也致力于收藏。& # x0D;& # x0D;
{"title":"The Role and Activities of Custodians of Aristocratic Collections in Bohemia in the 19th Century and First Half of the 20th Century: Selected Examples","authors":"Šárka Radostová, Kristina Uhlíková","doi":"10.3986/ahas.28.2.04","DOIUrl":"https://doi.org/10.3986/ahas.28.2.04","url":null,"abstract":"
 
 
 In a number of European countries, entrusting the care of the extensive sets of collections owned by aristocrats to a special employee or employees had been customary since the Renaissance. The focus of this study is the period from the beginning of the 19th century to the end of the Second World War. Selected individuals who together represent approximately one hundred and fifty years of care for collections located in aristocratic residences are presented. The academy-trained painter František Horčička, the former town executioner Carl Huss and the husband-and-wife team Wilhelmina and Karl Vincenz Auersperg devoted themselves to collections in the 19th century, while professor Josef Schmoranz and lawyer Josef Polák did so in the first half of the 20th century.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136064019","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 paper presents a comparison of the exhibition of art in the Duke of Alba’s original Liria Palace in 1931, which was destroyed in the Spanish Civil War in 1936, with a later exhibition in the reconstructed Liria Palace in 1957. It examines what is known of the original Liria Palace’s exhibition of art, as well as the history of those spaces, and compare it with the reconstructed Liria Palace. It also reflects on the significance of the role the art collection played in the reconstruction process. The exhibition of the Alba collection in the reconstructed Liria Palace formed part of the Duke’s strategies for perpetuating social distinction in the 20th century by preserving collective family memory, manifesting continuity, and imbuing the collection with unique meaning through the contextualization in this private setting.
{"title":"“In the Appropriate Setting”: Continuity and Context in the Alba Collection in Liria Palace (1931–1957)","authors":"Whitney Dennis","doi":"10.3986/ahas.28.2.07","DOIUrl":"https://doi.org/10.3986/ahas.28.2.07","url":null,"abstract":"
 
 
 This paper presents a comparison of the exhibition of art in the Duke of Alba’s original Liria Palace in 1931, which was destroyed in the Spanish Civil War in 1936, with a later exhibition in the reconstructed Liria Palace in 1957. It examines what is known of the original Liria Palace’s exhibition of art, as well as the history of those spaces, and compare it with the reconstructed Liria Palace. It also reflects on the significance of the role the art collection played in the reconstruction process. The exhibition of the Alba collection in the reconstructed Liria Palace formed part of the Duke’s strategies for perpetuating social distinction in the 20th century by preserving collective family memory, manifesting continuity, and imbuing the collection with unique meaning through the contextualization in this private setting.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136209021","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 article aims to investigate aristocratic collecting practices in the former Polish-Lithuanian Commonwealth in the 19th century, focusing on three points. First, we highlight the specific situation of the Polish aristocracy compared to most European countries and note the weakness of collecting culture in the Polish-Lithuanian Commonwealth in the early modern period, followed by its slow emergence at the end of the 18th century. Then, we investigate the most important phenomena of 19th-century aristocratic collecting and distinguish two major trends within it: collecting art and collecting national memorabilia. We also highlight the importance of aristocratic collections for a stateless nation. Finally, to illustrate the overview, using a specific example to underline the key issues, we discuss the collections of Princes Czartoryski. In this essay, we summarize our previous research on the collections of Polish aristocracy and provide, for the first time, a comprehensive and systematic panorama of this phenomenon.
{"title":"The Stateless Nation’s Elite: Artistic Collections of Polish Aristocracy, 1795–1918","authors":"Kamila Kłudkiewicz, Michał Mencfel","doi":"10.3986/ahas.28.2.01","DOIUrl":"https://doi.org/10.3986/ahas.28.2.01","url":null,"abstract":"
 
 
 The article aims to investigate aristocratic collecting practices in the former Polish-Lithuanian Commonwealth in the 19th century, focusing on three points. First, we highlight the specific situation of the Polish aristocracy compared to most European countries and note the weakness of collecting culture in the Polish-Lithuanian Commonwealth in the early modern period, followed by its slow emergence at the end of the 18th century. Then, we investigate the most important phenomena of 19th-century aristocratic collecting and distinguish two major trends within it: collecting art and collecting national memorabilia. We also highlight the importance of aristocratic collections for a stateless nation. Finally, to illustrate the overview, using a specific example to underline the key issues, we discuss the collections of Princes Czartoryski. In this essay, we summarize our previous research on the collections of Polish aristocracy and provide, for the first time, a comprehensive and systematic panorama of this phenomenon.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136064015","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 paper examines how three residential buildings, edified in Romania in medieval and early modern times by the members of the Golescu family, were repurposed during the 20th and 21st centuries, that is, before, during and after the Romanian communist period. It considers the social and political circumstances in which the analysed examples of the Golescu residential buildings have changed owners, appearance and function during the last 80 years.
{"title":"Old Edifices, New Uses: Three Residential Buildings of a Romanian Aristocratic Family and Their Destiny after 1930","authors":"Silvia Marin Barutcieff","doi":"10.3986/ahas.24.2.09","DOIUrl":"https://doi.org/10.3986/ahas.24.2.09","url":null,"abstract":"
 
 
 The paper examines how three residential buildings, edified in Romania in medieval and early modern times by the members of the Golescu family, were repurposed during the 20th and 21st centuries, that is, before, during and after the Romanian communist period. It considers the social and political circumstances in which the analysed examples of the Golescu residential buildings have changed owners, appearance and function during the last 80 years.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136064016","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}
Starting from the cross-analysis of printed texts, manuscripts and works of art preserved in the city’s museums, the essay reflects on the impact that the political, social and cultural upheavals triggered by the fall of the Serenissima had on the taste of the conservative Venetian nobility. In particular, it examines the case of Girolamo Ascanio Molin (1736–1814), a politician, scholar and writer who, between the late 18th and early 19th century, built an extensive collection, whose physiognomy evolved according to the historical context, the frequentations of the senator, the opportunities provided by art markets and the self-representation strategies adopted by the patriciate in response to the New Regime.
{"title":"The Molin Collection Between the Old and New Regime","authors":"Arianna Candeago","doi":"10.3986/ahas.28.2.02","DOIUrl":"https://doi.org/10.3986/ahas.28.2.02","url":null,"abstract":"
 
 
 Starting from the cross-analysis of printed texts, manuscripts and works of art preserved in the city’s museums, the essay reflects on the impact that the political, social and cultural upheavals triggered by the fall of the Serenissima had on the taste of the conservative Venetian nobility. In particular, it examines the case of Girolamo Ascanio Molin (1736–1814), a politician, scholar and writer who, between the late 18th and early 19th century, built an extensive collection, whose physiognomy evolved according to the historical context, the frequentations of the senator, the opportunities provided by art markets and the self-representation strategies adopted by the patriciate in response to the New Regime.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210792","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 paper deals with the significant social restructuring and radical ethnic cleansing in post-Second World War Czechoslovakia borderlands as evidenced by the art market, where massive state appropriations and transfers of furnishings from the mostly ex-German and ex-Hungarian nobility residences manifested themselves in huge wave of frenetic auction sales. The uniquely preserved archive file on the Karel Ditrich Exhibition and Auction House in Brno enables us to reconstruct these processes within the scope of the entire Moravian and Silesian territory. The documents reveal the contemporary ethnic, social, and economic disputes, leading in the end to significant class and social transfers, i. e., new trends in living culture and collecting.
{"title":"“Keep That German Kitsch Away from the Czech Hands!” Ethnic Cleansing in the Light of Material Culture: Furnishings of the Displaced Moravian and Silesian Nobility on the Post-1945 Brno Auction Market","authors":"Marcela Rusinko","doi":"10.3986/ahas.28.2.08","DOIUrl":"https://doi.org/10.3986/ahas.28.2.08","url":null,"abstract":"
 
 
 The paper deals with the significant social restructuring and radical ethnic cleansing in post-Second World War Czechoslovakia borderlands as evidenced by the art market, where massive state appropriations and transfers of furnishings from the mostly ex-German and ex-Hungarian nobility residences manifested themselves in huge wave of frenetic auction sales. The uniquely preserved archive file on the Karel Ditrich Exhibition and Auction House in Brno enables us to reconstruct these processes within the scope of the entire Moravian and Silesian territory. The documents reveal the contemporary ethnic, social, and economic disputes, leading in the end to significant class and social transfers, i. e., new trends in living culture and collecting.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210181","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 the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in post-revolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example. The paper takes as a case study Ca’ Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18th-century Venice (Museo del Settecento veneziano). After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes. From being the seat of the Austrian Tobacco Administration to housing dealers’ galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca’ Rezzonico’s rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century. The paper offers a comprehensive recon struction of the palace’s 19th-century history, drawing from both published and unpublished sources.
在革命后的欧洲，贵族建筑遗产的接受和重新改造的更广泛的现象中，1797年塞雷尼西玛(Serenissima)倒台后，威尼斯前贵族宫殿的重新利用构成了一个杰出的例子。这篇论文以Ca ' Rezzonico作为案例研究，它是大运河沿岸最辉煌的宫殿之一，自1936年以来，这里就坐落着著名的18世纪威尼斯博物馆(Museo del Settecento veneziano)。雷佐尼科家族于1810年灭亡后，这座宫殿的艺术历史宝藏逐渐被剥离，并被用于各种各样的用途。从奥地利烟草管理局的所在地到经销商画廊的所在地，从舞台设计师和国际画家的工作室到著名知识分子和美学家的家园，Ca ' Rezzonico的房间和墙壁见证了在漫长的19世纪席卷欧洲的艺术、品味和文化的深刻变化。这篇论文从已发表和未发表的资料中，对这座宫殿19世纪的历史进行了全面的重建。
{"title":"Ca’ Rezzonico in the 19th Century: The Dispersal of its Collections and the New Uses of the Palace","authors":"Valeria Paruzzo","doi":"10.3986/ahas.28.2.03","DOIUrl":"https://doi.org/10.3986/ahas.28.2.03","url":null,"abstract":"In the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in post-revolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example. The paper takes as a case study Ca’ Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18th-century Venice (Museo del Settecento veneziano). After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes. From being the seat of the Austrian Tobacco Administration to housing dealers’ galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca’ Rezzonico’s rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century. The paper offers a comprehensive recon struction of the palace’s 19th-century history, drawing from both published and unpublished sources.","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"2013 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210188","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 the Modern Age, most fortified manor houses in Portugal fell into ruin, due to the lack of dignified living conditions, the obsolescence of defensive structures, and the decline decay of aristocratic families. However, between 1933 and 1974, many ruined fortified manor houses were restored by the Portuguese dictatorial regime. The nationalist dictatorship of Estado Novo used heritage as an ideological instrument of propaganda. This proposal aims to analyse the context of the ideological restoration of medieval fortified manor houses by the dictatorial regime, addressing symbolisms, restoration actions, and the contextualisation of fortified manor houses in Portugal by focusing on particular case studies.
{"title":"The Restoration and Refunctionalisation of Medieval Fortified Manor Houses by the Portuguese Dictatorial Regime (1926–1974)","authors":"Joaquim Rodrigues dos Santos","doi":"10.3986/ahas.28.2.06","DOIUrl":"https://doi.org/10.3986/ahas.28.2.06","url":null,"abstract":"In the Modern Age, most fortified manor houses in Portugal fell into ruin, due to the lack of dignified living conditions, the obsolescence of defensive structures, and the decline decay of aristocratic families. However, between 1933 and 1974, many ruined fortified manor houses were restored by the Portuguese dictatorial regime. The nationalist dictatorship of Estado Novo used heritage as an ideological instrument of propaganda. This proposal aims to analyse the context of the ideological restoration of medieval fortified manor houses by the dictatorial regime, addressing symbolisms, restoration actions, and the contextualisation of fortified manor houses in Portugal by focusing on particular case studies.","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"198 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136209727","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 article examines the furnishing of country residences, the collecting practises and art patronage of members of two families of the old and new nobility, the Erdödy and the Vranyczány-Dobrinović, who played an important role in Croatian society and politics. The Erdödy furnished their castles in Jastrebarsko, Novi Marof and Bajnski dvori with Historicist furniture and decorated them with their collections, which consisted mainly of works of art by Old Masters. The Vranyczány followed the trend of Historicist interior decoration and expressed their personal taste more strongly, which was reflected in their estates of Mirkovec and Gornje Oroslavje, which became the centre of social gatherings of the modern Croatian art scene.
{"title":"The New Life of Baroque Castles in North-Western Croatia: The Renovation of the Erdödy and Vranyczány Families’ Castles at the End of the 19th and Beginning of the 20th Centuries","authors":"Dubravka Botica","doi":"10.3986/ahas.28.2.05","DOIUrl":"https://doi.org/10.3986/ahas.28.2.05","url":null,"abstract":"
 
 
 The article examines the furnishing of country residences, the collecting practises and art patronage of members of two families of the old and new nobility, the Erdödy and the Vranyczány-Dobrinović, who played an important role in Croatian society and politics. The Erdödy furnished their castles in Jastrebarsko, Novi Marof and Bajnski dvori with Historicist furniture and decorated them with their collections, which consisted mainly of works of art by Old Masters. The Vranyczány followed the trend of Historicist interior decoration and expressed their personal taste more strongly, which was reflected in their estates of Mirkovec and Gornje Oroslavje, which became the centre of social gatherings of the modern Croatian art scene.
 
 
","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136211312","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}
Prispevek analizira dve kabinetni žanrski sliki iz druge polovice 18. stoletja, ki sta do konca druge svetovne vojne viseli v dvorcu Podsmreka pri Višnji Gori, danes pa sta v zasebni lasti v Ljubljani. Na podlagi pečatov in oznak na hrbtiščih ju zanesljivo povezuje z zbirko, ki jo je na Dunaju zasnoval Isidor vitez Klarwill (1842–1898), del njegove zbirke pa je ob nakupu posesti Podsmreka na Slovensko pripeljal njegov vnuk Peter Klarwill. Na podlagi študija arhivskih virov razkriva doslej neznane okoliščine prenosa dela rodbinske zbirke v Podsmreko leta 1935, prodajo dvorca Antonu Verovšku leta 1939 ter usodo zbirke in grajske opreme, ki sta ob prodaji dvorca državi po Verovškovi smrti prešli v javno last. Z zapuščino Klarwillov prvič povezuje tudi posamezne umetnine in kose opreme, ki so bili ob prodaji dvorca državi leta 1948 dodeljeni javnim muzejskim zbirkam.
{"title":"Umetnostna dediščina vitezov Klarwillov iz dvorca Podsmreka pri Višnji Gori","authors":"Tina Košak","doi":"10.3986/ahas.28.1.04","DOIUrl":"https://doi.org/10.3986/ahas.28.1.04","url":null,"abstract":"\u0000 \u0000 \u0000Prispevek analizira dve kabinetni žanrski sliki iz druge polovice 18. stoletja, ki sta do konca druge svetovne vojne viseli v dvorcu Podsmreka pri Višnji Gori, danes pa sta v zasebni lasti v Ljubljani. Na podlagi pečatov in oznak na hrbtiščih ju zanesljivo povezuje z zbirko, ki jo je na Dunaju zasnoval Isidor vitez Klarwill (1842–1898), del njegove zbirke pa je ob nakupu posesti Podsmreka na Slovensko pripeljal njegov vnuk Peter Klarwill. Na podlagi študija arhivskih virov razkriva doslej neznane okoliščine prenosa dela rodbinske zbirke v Podsmreko leta 1935, prodajo dvorca Antonu Verovšku leta 1939 ter usodo zbirke in grajske opreme, ki sta ob prodaji dvorca državi po Verovškovi smrti prešli v javno last. Z zapuščino Klarwillov prvič povezuje tudi posamezne umetnine in kose opreme, ki so bili ob prodaji dvorca državi leta 1948 dodeljeni javnim muzejskim zbirkam. \u0000 \u0000 \u0000","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44711797","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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