In the summer of 1983, the rock band Petra was riding high, selling out larger venues than ever on the concert tour supporting their blockbuster LP, More Power to Ya. With its catchy guitar licks, soaring vocals, and slick concert performances, Petra—the Greek word for “rock”—fit comfortably within the musical milieu pioneered by such contemporary giants as Kansas and Foreigner. However, unlike those better-known bands, that summer Petra also released the first issue of a newsletter with the headline, “Arming Ourselves for Spiritual Battle,” printed below an illustration of a teen boy in a futuristic space suit, holding a sword and shield as he blocked a laser blast. As the masthead proclaimed, the publisher was Petra Ministries. The very phrase “Petra Ministries” reads like a non sequitur outside the world of Christian Contemporary Music (CCM), but within it, the marriage of music and ministry is assumed, even if the appropriate balance between the two is contested. Although most rock bands will never publish a Bible study on spiritual warfare, musicologist Andrew Mall argues in God Rock, Inc.: The Business of Niche Music that the underlying tension between subcultural ethics and musical aesthetics among CCM artists can serve as a useful case study for niche markets generally. Markets, according to Mall, are those “spaces in which the interactions of musicians, listeners, and cultural intermediaries . . . are grounded in the production and consumption of music” (3). While scholars in religious studies, cultural studies, and music history increasingly have found CCM a worthy area of research, none thus far has focused so strongly on the market itself and its influence on the artists who seek to conquer or transcend it. God Rock, Inc. pursues this argument in two main parts: The first four chapters focus on the CCM industry and its history, and the final three chapters analyze the tension between ministry and industry. The book also includes illustrations and four appendices that provide crucial contextual detail, as well as—in a fun twist—Spotify playlists of the songs and albums Mall discusses. God Rock, Inc. begins its story with the 1960s Jesus People movement that eventually birthed CCM. As Mall shows, artists almost immediately struggled to balance sacrificial ministry with seeking the profits that would allow their ministry’s expansion, sometimes adjusting lyrical content to reach audiences outside of the Christian market, adjusting musical styles to enhance radio airplay opportunities, or both. This “double marginalization,” in Mall’s words— too Christian for the mainstream, too mainstream for the Christians (16)—was unique to the formative decades of CCM. A prime example of attempting to overcome this dynamic, which Mall analyzes in Chapter 4, “Find a Way,” is Amy Grant’s infamous crossover into the general pop market from 1985–91. Grant, who for a decade had been touted as the Christian alternative to mainstream pop artists such as Madon
1983年夏天，摇滚乐队佩特拉（Petra）在巡回演唱会上大放异彩，演唱会场地比以往任何时候都大，为他们的大片LP《More Power to Ya》提供支持。Petra——希腊语中“摇滚”的意思——凭借其朗朗上口的吉他声、高亢的人声和流畅的音乐会表演，非常适合堪萨斯州和外国人等当代巨头开创的音乐环境。然而，与那些更知名的乐队不同的是，那年夏天，佩特拉还发布了第一期时事通讯，标题是“为精神之战武装我们自己”，下面印着一幅插图，画的是一个穿着未来主义太空服的十几岁男孩，手里拿着剑和盾牌，挡住了激光爆炸。正如刊头宣称的那样，出版商是佩特拉部委。在基督教当代音乐（CCM）之外，“Petra Ministrys”这个短语读起来就像是一个不合逻辑的推论，但在它内部，音乐和牧师的结合是假定的，即使两者之间的适当平衡存在争议。尽管大多数摇滚乐队永远不会发表关于精神战的圣经研究，但音乐学家Andrew Mall在《上帝摇滚，股份有限公司：利基音乐的商业》一书中认为，CCM艺术家中亚文化伦理和音乐美学之间的潜在紧张关系可以作为利基市场的有用案例研究。根据Mall的说法，市场是指“音乐家、听众和文化中介的互动……以音乐的生产和消费为基础的空间”（3）。尽管宗教研究、文化研究和音乐史的学者越来越多地发现CCM是一个值得研究的领域，但迄今为止，没有人如此强烈地关注市场本身及其对寻求征服或超越市场的艺术家的影响。God Rock，股份有限公司将这一论点分为两个主要部分：前四章关注CCM行业及其历史，最后三章分析了工信部之间的紧张关系。这本书还包括插图和四个附录，提供了关键的上下文细节，以及Spotify播放列表中Mall讨论的歌曲和专辑。God Rock，股份有限公司的故事始于20世纪60年代的耶稣运动，该运动最终诞生了CCM。正如Mall所展示的那样，艺术家们几乎立刻就在努力平衡牺牲牧师与寻求利润之间的关系，这将使他们的牧师得以扩张，有时会调整抒情内容以接触基督教市场以外的观众，调整音乐风格以增加广播播放机会，或者两者兼而有之。用Mall的话来说，这种“双重边缘化”——对主流来说太基督教了，对基督徒来说太主流了（16）——是CCM形成的几十年所独有的。Mall在第4章“找到一条路”中分析了试图克服这种动态的一个典型例子，那就是Amy Grant在1985-91年间臭名昭著的跨界进入普通流行市场。十年来，格兰特一直被吹捧为麦当娜等主流流行艺术家的基督教替代者，1991年的《心在动》让CCM行业感到惊讶，这张流行专辑更多地关注爱情和生活的一般情感，而不是对耶稣的明确提及；这本书卖出了500多万册，尽管她的许多老粉丝指责她为了追求利润而出卖了自己的牧师。“利基市场边界”购物中心
{"title":"God Rock, Inc.: The Business of Niche Music by Andrew Mall (review)","authors":"Paul A. Anthony","doi":"10.3138/jrpc.2021-0050","DOIUrl":"https://doi.org/10.3138/jrpc.2021-0050","url":null,"abstract":"In the summer of 1983, the rock band Petra was riding high, selling out larger venues than ever on the concert tour supporting their blockbuster LP, More Power to Ya. With its catchy guitar licks, soaring vocals, and slick concert performances, Petra—the Greek word for “rock”—fit comfortably within the musical milieu pioneered by such contemporary giants as Kansas and Foreigner. However, unlike those better-known bands, that summer Petra also released the first issue of a newsletter with the headline, “Arming Ourselves for Spiritual Battle,” printed below an illustration of a teen boy in a futuristic space suit, holding a sword and shield as he blocked a laser blast. As the masthead proclaimed, the publisher was Petra Ministries. The very phrase “Petra Ministries” reads like a non sequitur outside the world of Christian Contemporary Music (CCM), but within it, the marriage of music and ministry is assumed, even if the appropriate balance between the two is contested. Although most rock bands will never publish a Bible study on spiritual warfare, musicologist Andrew Mall argues in God Rock, Inc.: The Business of Niche Music that the underlying tension between subcultural ethics and musical aesthetics among CCM artists can serve as a useful case study for niche markets generally. Markets, according to Mall, are those “spaces in which the interactions of musicians, listeners, and cultural intermediaries . . . are grounded in the production and consumption of music” (3). While scholars in religious studies, cultural studies, and music history increasingly have found CCM a worthy area of research, none thus far has focused so strongly on the market itself and its influence on the artists who seek to conquer or transcend it. God Rock, Inc. pursues this argument in two main parts: The first four chapters focus on the CCM industry and its history, and the final three chapters analyze the tension between ministry and industry. The book also includes illustrations and four appendices that provide crucial contextual detail, as well as—in a fun twist—Spotify playlists of the songs and albums Mall discusses. God Rock, Inc. begins its story with the 1960s Jesus People movement that eventually birthed CCM. As Mall shows, artists almost immediately struggled to balance sacrificial ministry with seeking the profits that would allow their ministry’s expansion, sometimes adjusting lyrical content to reach audiences outside of the Christian market, adjusting musical styles to enhance radio airplay opportunities, or both. This “double marginalization,” in Mall’s words— too Christian for the mainstream, too mainstream for the Christians (16)—was unique to the formative decades of CCM. A prime example of attempting to overcome this dynamic, which Mall analyzes in Chapter 4, “Find a Way,” is Amy Grant’s infamous crossover into the general pop market from 1985–91. Grant, who for a decade had been touted as the Christian alternative to mainstream pop artists such as Madon","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"35 1","pages":"52 - 53"},"PeriodicalIF":0.0,"publicationDate":"2022-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48497040","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}
Abstract:This article argues that new religious movements (NRMs) develop as cultural interlocutors. As emergent social bodies that respond to extant norms, structures, and values, NRMs can deploy cultural products as a shared vocabulary and grammar in their response to surrounding society. To demonstrate this approach's ability to parse NRMs' relations to popular culture while highlighting organizationally distinctive dimensions of such interactions, this article examines Jim Jones's references to visual media shown in Jonestown in 1978. Jones critiqued movies and television as tools of social control, repurposed documentaries and films as evidence to support his proffered doctrine, and creatively presented movies as analogues of the commune's perceived challenges. This threefold hermeneutic shaped the Peoples Temple's beliefs and behavior, as well as its own media productions.
{"title":"Watching Movies in Jonestown: A Cultural Interlocutor Approach to Visual Media and New Religions","authors":"Kristian Klippenstein","doi":"10.3138/jrpc.2020-0027","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0027","url":null,"abstract":"Abstract:This article argues that new religious movements (NRMs) develop as cultural interlocutors. As emergent social bodies that respond to extant norms, structures, and values, NRMs can deploy cultural products as a shared vocabulary and grammar in their response to surrounding society. To demonstrate this approach's ability to parse NRMs' relations to popular culture while highlighting organizationally distinctive dimensions of such interactions, this article examines Jim Jones's references to visual media shown in Jonestown in 1978. Jones critiqued movies and television as tools of social control, repurposed documentaries and films as evidence to support his proffered doctrine, and creatively presented movies as analogues of the commune's perceived challenges. This threefold hermeneutic shaped the Peoples Temple's beliefs and behavior, as well as its own media productions.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"34 1","pages":"53 - 72"},"PeriodicalIF":0.0,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209103","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":"Prayers for Ancestors, Spirits, and Gods: Focusing on the ritual combination of divine beings","authors":"I. Sim","doi":"10.46263/rc.41.4.","DOIUrl":"https://doi.org/10.46263/rc.41.4.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83112694","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":"A Study on Korean Divinatory Prose-poetry: Transition and Development from Ch?ng’s Predictions to Divinatory Prose-poetry","authors":"Byoung Hoon Park","doi":"10.46263/rc.41.1.","DOIUrl":"https://doi.org/10.46263/rc.41.1.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80072571","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":"The Religions of the Other Represented in the Novels of Annie L. A. Baird","authors":"Won-il Bhang","doi":"10.46263/rc.41.3.","DOIUrl":"https://doi.org/10.46263/rc.41.3.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"29 6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88346072","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":"A Study on the Theory of the Ascension to the Throne of Cha Kyung-seok in the 1920s","authors":"Ingyu Park","doi":"10.46263/rc.41.2.","DOIUrl":"https://doi.org/10.46263/rc.41.2.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83233461","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":"What can Orthodox Christianity Learn from Postmodernism?: Merold Westphal’s Hermeneutics of Finitude and His Own Appropriation of Postmodernism to Religion","authors":"Dongkyu Kim","doi":"10.46263/rc.41.6.","DOIUrl":"https://doi.org/10.46263/rc.41.6.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75354079","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}
Juli L. Gittinger, William S. Chavez, Shyam K. Sriram, Ewan Bowlby, David Tuipulotu-Tuinukuafe, P. Anthony
Abstract:The term "prepper" or "survivalist" has long been associated with more conservative or politically right-leaning communities who have operated at the fringe of society for decades. Since the new millennium, this hobby of preparedness has increased and, most recently, shown a rise among liberal or left-leaning communities. This essay addresses the rise in liberal prepper culture not only as a political response to right-wing politics, but as a fear heightened by the realities of climate change and its impact on humanity, thus creating an eco-religion centred on ethical and moral responsibilities, with an overall apocalyptic hue.
{"title":"Liberal Prepping as Apocalyptic Eco-Religion","authors":"Juli L. Gittinger, William S. Chavez, Shyam K. Sriram, Ewan Bowlby, David Tuipulotu-Tuinukuafe, P. Anthony","doi":"10.3138/jrpc.2020-0026","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0026","url":null,"abstract":"Abstract:The term \"prepper\" or \"survivalist\" has long been associated with more conservative or politically right-leaning communities who have operated at the fringe of society for decades. Since the new millennium, this hobby of preparedness has increased and, most recently, shown a rise among liberal or left-leaning communities. This essay addresses the rise in liberal prepper culture not only as a political response to right-wing politics, but as a fear heightened by the realities of climate change and its impact on humanity, thus creating an eco-religion centred on ethical and moral responsibilities, with an overall apocalyptic hue.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"35 1","pages":"1 - 20 - 21 - 35 - 36 - 49 - 50 - 51 - 52 - 53"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46607637","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}
From the fight over the addition of God to the Pledge of Allegiance to religious satire on late night television, Anthony Hatcher argues in Religion and Media in America that American media, popular culture, and Christianity are inextricably linked by their history, development, and mutual impact on one another. While the book’s title and introduction promise a history and examination of the deep ties between American media and religion, the book discusses a range of cultural artifacts and focuses solely on Christianity.
{"title":"Religion and Media in America","authors":"Karlin Andersen","doi":"10.3138/jrpc.2020-0053","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0053","url":null,"abstract":"From the fight over the addition of God to the Pledge of Allegiance to religious satire on late night television, Anthony Hatcher argues in Religion and Media in America that American media, popular culture, and Christianity are inextricably linked by their history, development, and mutual impact on one another. While the book’s title and introduction promise a history and examination of the deep ties between American media and religion, the book discusses a range of cultural artifacts and focuses solely on Christianity.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"1 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2021-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69366114","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 excellent cultural history of the special evolving relationship between the arts in the US and Israel, including music, theatre, dance, film, literature, and television is a tour de force. It shows how the role of artists’ relationships to Israel has influenced how Americans often perceive Israel. These intertwined cultural histories of the US and Israel have shaped one another and destined Israel’s image. Books, films, TV, and music have played a significant role in forming American public views of Israel by depictions with subthemes of socialism, imperialism, racial justice, and Christian missionary efforts. A strength of the book is that Goldman, in the process of writing an outstanding cultural history, reveals much knowledge in areas of political science, historical background of the Middle East, foreign policy and diplomacy, Israeli public relations, Israel’s perceived international image, and world religious history. The book superbly shows how American cultural forces in the performing arts are part of the process of the American-Israeli story that is the most consequential international alliance. While much has been written about the diplomatic, military, and religious aspects of the relationship between the US and Israel, Goldman reveals that the mediating role of the power of the arts has shaped and destined the US-Israeli special relationship of the world stage. Goldman demonstrates how American artists who have journeyed to Israel to perform, lecture, and rivet fans have not only expressed but influenced the American special relationship with Israel. The wide scope, not only chronologically but for its far-ranging noetic ken, that incorporates a wide net to help understanding of the special relationship Israel has with the US, is refreshing to see in an age of narrow academic specialization. While containing many important details, it does not lose sight of the forest for the trees and traces broad general trends. A second strength is Goldman’s piercing analytic penetration that brings to light the leftright political divisions that form a subconscious background to historical unfoldings since the foundation of the United States. With this analytical penetration, Goldman is able to demonstrate that Christian support for Israel—primarily amongst Protestants, and to a lesser degree amongst Catholics—was and remains the central and determining part of Israel’s establishment, support, and growth, founded on the central place of reading the world’s destiny and fate into the Bible through Christian interpretation of Biblical prophecy. Recently this Christian Right has played a role in support of moving the American embassy to Jerusalem, scrapping the Obama-era US-Iran Deal, and recognizing that Judea and Samaria are not illegal but the rightful borders of Israel as described in the reigns of King David and Solomon. Thirdly, Goldman is able to focus and identify clear turning points in US-Israeli relations through the political sea cha
{"title":"Starstruck in the Promised Land: How the Arts Shaped American Passions About Israel by Shalom Goldman (review)","authors":"D. Levy","doi":"10.3138/jrpc.2021-0009","DOIUrl":"https://doi.org/10.3138/jrpc.2021-0009","url":null,"abstract":"This excellent cultural history of the special evolving relationship between the arts in the US and Israel, including music, theatre, dance, film, literature, and television is a tour de force. It shows how the role of artists’ relationships to Israel has influenced how Americans often perceive Israel. These intertwined cultural histories of the US and Israel have shaped one another and destined Israel’s image. Books, films, TV, and music have played a significant role in forming American public views of Israel by depictions with subthemes of socialism, imperialism, racial justice, and Christian missionary efforts. A strength of the book is that Goldman, in the process of writing an outstanding cultural history, reveals much knowledge in areas of political science, historical background of the Middle East, foreign policy and diplomacy, Israeli public relations, Israel’s perceived international image, and world religious history. The book superbly shows how American cultural forces in the performing arts are part of the process of the American-Israeli story that is the most consequential international alliance. While much has been written about the diplomatic, military, and religious aspects of the relationship between the US and Israel, Goldman reveals that the mediating role of the power of the arts has shaped and destined the US-Israeli special relationship of the world stage. Goldman demonstrates how American artists who have journeyed to Israel to perform, lecture, and rivet fans have not only expressed but influenced the American special relationship with Israel. The wide scope, not only chronologically but for its far-ranging noetic ken, that incorporates a wide net to help understanding of the special relationship Israel has with the US, is refreshing to see in an age of narrow academic specialization. While containing many important details, it does not lose sight of the forest for the trees and traces broad general trends. A second strength is Goldman’s piercing analytic penetration that brings to light the leftright political divisions that form a subconscious background to historical unfoldings since the foundation of the United States. With this analytical penetration, Goldman is able to demonstrate that Christian support for Israel—primarily amongst Protestants, and to a lesser degree amongst Catholics—was and remains the central and determining part of Israel’s establishment, support, and growth, founded on the central place of reading the world’s destiny and fate into the Bible through Christian interpretation of Biblical prophecy. Recently this Christian Right has played a role in support of moving the American embassy to Jerusalem, scrapping the Obama-era US-Iran Deal, and recognizing that Judea and Samaria are not illegal but the rightful borders of Israel as described in the reigns of King David and Solomon. Thirdly, Goldman is able to focus and identify clear turning points in US-Israeli relations through the political sea cha","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":"34 1","pages":"75 - 77"},"PeriodicalIF":0.0,"publicationDate":"2021-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42362910","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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