Pub Date : 1900-01-01DOI: 10.30525/978-9934-26-065-0-1
Bazon Brock
{"title":"SERGEY DOZHD. “COMMITMENT TO A NEW SPIRITUALITY.” ON THE RELATIONSHIP BETWEEN REAL AND MENTAL SPACES","authors":"Bazon Brock","doi":"10.30525/978-9934-26-065-0-1","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-1","url":null,"abstract":"","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126290264","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-9
T. Krotova, Kalyna Pashkevych
The purpose of the paper. To analyze artistic and compositional solutions in modern women’s wedding clothes, to present the development of models of wedding clothes by means of mixed techniques based on the interpretation of its established forms in combination with traditional ornamental motifs of Poltava region. The methodology of the study. The analysis of scientific sources is based on literary-analytical and comparative methods; for analysis of visual sources and materials methods of observation, visual-analytical, as well as formal, figurative and stylistic analysis were used. The authors also applied system-structural analysis, transformation, interpretation and image-associative methods when using ornamental motifs in the process of modeling women’s wedding clothes. The scientific novelty consists in defining the possibilities of applying the traditional art of embroidery and painting of fabrics in combination with the author’s interpretation of women’s wedding clothes. Practical significance consists in the application of the combination of embroidery and ornamentation elements of Poltava region and modern fashion trends in the process of formation and manufacture of modern wedding clothes. The conclusions. The art of embroidery and painting fabrics is an important means of decorating clothes, and young women are ready to experiment with the cut, placement of ornaments, and a combination of different decoration techniques in creating wedding clothes. Modern fashion trends, materials, a variety of textures give designers the opportunity to reinterpret the wedding
{"title":"DIALOGICS OF FOLK TRADITION AND AUTHOR’S INTERPRETATION IN MODERN WEDDING FASHION","authors":"T. Krotova, Kalyna Pashkevych","doi":"10.30525/978-9934-26-065-0-9","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-9","url":null,"abstract":"The purpose of the paper. To analyze artistic and compositional solutions in modern women’s wedding clothes, to present the development of models of wedding clothes by means of mixed techniques based on the interpretation of its established forms in combination with traditional ornamental motifs of Poltava region. The methodology of the study. The analysis of scientific sources is based on literary-analytical and comparative methods; for analysis of visual sources and materials methods of observation, visual-analytical, as well as formal, figurative and stylistic analysis were used. The authors also applied system-structural analysis, transformation, interpretation and image-associative methods when using ornamental motifs in the process of modeling women’s wedding clothes. The scientific novelty consists in defining the possibilities of applying the traditional art of embroidery and painting of fabrics in combination with the author’s interpretation of women’s wedding clothes. Practical significance consists in the application of the combination of embroidery and ornamentation elements of Poltava region and modern fashion trends in the process of formation and manufacture of modern wedding clothes. The conclusions. The art of embroidery and painting fabrics is an important means of decorating clothes, and young women are ready to experiment with the cut, placement of ornaments, and a combination of different decoration techniques in creating wedding clothes. Modern fashion trends, materials, a variety of textures give designers the opportunity to reinterpret the wedding","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132039139","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-13
Mykhailo Priymich
The article deals with some issues of development of modern art education and art history in Ukraine, considering the problem of losing the meaning of creative activity and poor development of its own artistic terminology. This is due not only to modern European processes of transformation of values in the view at man, but also the complex historical legacy of education in Soviet Ukraine, where the humanities were subjected to ideological dictate. The service role of the humanities gave it certain state guarantees, because it was here that the justifications of ideological paradigms were forged. It is obvious that such a state could not but affect the processes in the development of humanitarian knowledge of modern Ukraine, in particular, today we see a huge problem in terminology in various fields. Among these we can highlight the issues of terminology in modern Ukrainian art history. In our review of this problem, an attempt is made to analyze the concepts: fine arts, decorative and applied arts and design. Their different nature is substantiated, which allows us to talk about the need to differentiate approaches to teaching these areas in modern art education and creativity.
{"title":"ART IN UKRAINE: QUESTIONS OF MEANINGS, TERMS AND FORMS","authors":"Mykhailo Priymich","doi":"10.30525/978-9934-26-065-0-13","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-13","url":null,"abstract":"The article deals with some issues of development of modern art education and art history in Ukraine, considering the problem of losing the meaning of creative activity and poor development of its own artistic terminology. This is due not only to modern European processes of transformation of values in the view at man, but also the complex historical legacy of education in Soviet Ukraine, where the humanities were subjected to ideological dictate. The service role of the humanities gave it certain state guarantees, because it was here that the justifications of ideological paradigms were forged. It is obvious that such a state could not but affect the processes in the development of humanitarian knowledge of modern Ukraine, in particular, today we see a huge problem in terminology in various fields. Among these we can highlight the issues of terminology in modern Ukrainian art history. In our review of this problem, an attempt is made to analyze the concepts: fine arts, decorative and applied arts and design. Their different nature is substantiated, which allows us to talk about the need to differentiate approaches to teaching these areas in modern art education and creativity.","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"186 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123052952","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-10
B. Kryvolapov
The article deals with theoretical and practical problems of the circulation of movable cultural values in civil law. The cultural values as objects of civil rights are explored. The qualification of cultural values as things in civil law is made considering their features. The author analyzes the specifics of transactions with cultural values. Particular attention is paid to the contract of sale of cultural values, including the sale through an auction. The author has identified that the distinctive feature of the Ukrainian legislation on contracts of sale of cultural values is the possibility of the preemptive right of the state to purchase them. The protection of property rights for cultural values is examined separately. It is claimed that the vindication claim is the main civil law manner to protect property rights for cultural values. It is found out that the problem of a bona fide beneficiary arises in the protection of property rights to movable cultural values. It has been determined that the representation based on an agency agreement is used to purchase and sell cultural values at auctions.
{"title":"CIVIL LEGAL REGULATION OF MOVABLE CULTURAL VALUES CIRCULATION IN UKRAINE","authors":"B. Kryvolapov","doi":"10.30525/978-9934-26-065-0-10","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-10","url":null,"abstract":"The article deals with theoretical and practical problems of the circulation of movable cultural values in civil law. The cultural values as objects of civil rights are explored. The qualification of cultural values as things in civil law is made considering their features. The author analyzes the specifics of transactions with cultural values. Particular attention is paid to the contract of sale of cultural values, including the sale through an auction. The author has identified that the distinctive feature of the Ukrainian legislation on contracts of sale of cultural values is the possibility of the preemptive right of the state to purchase them. The protection of property rights for cultural values is examined separately. It is claimed that the vindication claim is the main civil law manner to protect property rights for cultural values. It is found out that the problem of a bona fide beneficiary arises in the protection of property rights to movable cultural values. It has been determined that the representation based on an agency agreement is used to purchase and sell cultural values at auctions.","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126580772","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-7
N. Chuprina, O. Kolosnichenko
The purpose of the paper is to study the artistic style of pop art, to identify the problems of research in the context of modern fashion design. The article considers the means of graphic expressiveness in the work of the main representatives of pop art, the evolution of compositional means and techniques, the features of the color scheme and original texture as a way to influence society through the design and implementation of fashionable clothing. The methodology of the study is based on the principles of a systematic approach to the formation of the clothing range, methods of historical and logical development, comparative, system-structural and morphological analysis, which made it possible to study the costume in the process of development and identify the characteristic features of the artistic style of Pop Art in the design concepts of designers at the beginning of the third millennium. The scientific novelty consists in generalizing and systematizing experience in the practice of fashion design in order to predict the development of forms of author’s collections based on artistic and compositional principles and methods of stylistic transformation.
{"title":"POP ART IMAGE AND DESIGN CHARACTERISTICS AND MODERN DESIGN TRENDS ASSIMILATION","authors":"N. Chuprina, O. Kolosnichenko","doi":"10.30525/978-9934-26-065-0-7","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-7","url":null,"abstract":"The purpose of the paper is to study the artistic style of pop art, to identify the problems of research in the context of modern fashion design. The article considers the means of graphic expressiveness in the work of the main representatives of pop art, the evolution of compositional means and techniques, the features of the color scheme and original texture as a way to influence society through the design and implementation of fashionable clothing. The methodology of the study is based on the principles of a systematic approach to the formation of the clothing range, methods of historical and logical development, comparative, system-structural and morphological analysis, which made it possible to study the costume in the process of development and identify the characteristic features of the artistic style of Pop Art in the design concepts of designers at the beginning of the third millennium. The scientific novelty consists in generalizing and systematizing experience in the practice of fashion design in order to predict the development of forms of author’s collections based on artistic and compositional principles and methods of stylistic transformation.","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115183000","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-11
I. Mishchenko
The purpose of the paper. Is to analyze the development of tendencies of postmodernism in the painting of Chernivtsi in the second half of the 20th – beginning of the 21st century and to identify its features in the works of individual authors. The methodology of the study consist in the use of methods of comparison and generalization, biographical and historical approach, art analysis. The scientific novelty is to reveal the specifics of visual practices of postmodernism in the art of Chernivtsi in general and the variety of manifestations of the latter in the works of artists of different generations. The conclusions. Postmodernism in Chernivtsi painting at the turn of the 20th – beginning of the 21st centuries is represented by a fairly large number of authors and a variety of manifestations, some of which received names that are already used in publications (crypto-realism in the paintings of G. Gorbaty, firstoism in the works of S. Virsta). Perhaps the first of such variations of postmodern art was the painting of P. Hrytsyk in the 1970s and 1980s, which emerged as one of the incarnations of nonconformism. The beginning of the 1990s was a time of active development and liberation of the region's art from the conventions of socialist realism, the change in the socio-political situation in Ukraine in general contributed to that. During this period in Chernivtsi work authors with different artistic tastes, who formed individual approaches to the creation of the world of images in painting. Some of these artists relied on the classical heritage, transforming it and giving a different sound to traditional plots (V. Kovalyuk, A. Prysyazhnyuk), others sought to find mythopoetics in the renewed perception of ancient symbols, the activity of textures and the integrity of color (
论文的目的。分析20世纪下半叶至21世纪初切尔诺夫斯绘画中后现代主义倾向的发展，并找出其在个别作者作品中的特点。研究方法主要包括比较法与概括法、传记法与历史法、艺术分析法等。科学的新颖性在于揭示切尔诺夫茨艺术中后现代主义视觉实践的特殊性，以及后者在不同年代艺术家作品中的各种表现形式。的结论。在20世纪之交- 21世纪初，切尔诺夫茨绘画中的后现代主义由相当多的作者和各种表现形式所代表，其中一些已经在出版物中使用的名称(G. Gorbaty绘画中的秘密现实主义，S. Virsta作品中的第一主义)。也许这种后现代艺术的第一个变种是20世纪70年代和80年代p·赫里茨克(P. Hrytsyk)的画作，它是不墨守成规的化身之一。20世纪90年代初是该地区艺术从社会主义现实主义惯例中积极发展和解放的时期，乌克兰社会政治局势的变化总体上促成了这一点。在切尔诺夫茨这一时期的作品中，作家们有着不同的艺术品味，他们形成了各自的绘画图像世界的创作方式。这些艺术家中的一些人依赖于古典遗产，对其进行改造，并为传统情节赋予不同的声音(V. Kovalyuk, a . Prysyazhnyuk)，其他人则试图在对古代符号的更新感知中找到神话学，纹理的活动和色彩的完整性(
{"title":"VARIATIONS OF POSTMODERNISM IN THE PAINTING OF CHERNIVTSI ARTISTS","authors":"I. Mishchenko","doi":"10.30525/978-9934-26-065-0-11","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-11","url":null,"abstract":"The purpose of the paper. Is to analyze the development of tendencies of postmodernism in the painting of Chernivtsi in the second half of the 20th – beginning of the 21st century and to identify its features in the works of individual authors. The methodology of the study consist in the use of methods of comparison and generalization, biographical and historical approach, art analysis. The scientific novelty is to reveal the specifics of visual practices of postmodernism in the art of Chernivtsi in general and the variety of manifestations of the latter in the works of artists of different generations. The conclusions. Postmodernism in Chernivtsi painting at the turn of the 20th – beginning of the 21st centuries is represented by a fairly large number of authors and a variety of manifestations, some of which received names that are already used in publications (crypto-realism in the paintings of G. Gorbaty, firstoism in the works of S. Virsta). Perhaps the first of such variations of postmodern art was the painting of P. Hrytsyk in the 1970s and 1980s, which emerged as one of the incarnations of nonconformism. The beginning of the 1990s was a time of active development and liberation of the region's art from the conventions of socialist realism, the change in the socio-political situation in Ukraine in general contributed to that. During this period in Chernivtsi work authors with different artistic tastes, who formed individual approaches to the creation of the world of images in painting. Some of these artists relied on the classical heritage, transforming it and giving a different sound to traditional plots (V. Kovalyuk, A. Prysyazhnyuk), others sought to find mythopoetics in the renewed perception of ancient symbols, the activity of textures and the integrity of color (","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115573183","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-8
Oksana Havrosh, Nataliia Rebryk
The article attempts an artistic and aesthetic analysis of modern art of Transcarpathia in the 1960s – 1980s, defined as nonconformism and underground, arguing that artists really contradicted the established philosophical, ethical, aesthetic codes of society and directed their art to self-expression. Having analyzed art processes in Transcarpathia during the Khrushchev «Thaw» and the 1980s, the authors have outlined the preconditions of manifestation and dissemination of ideas of nonconformism in the artistic environment of Transcarpathia and in the works of P. Bedzir, E. Kremnytska and F. Seman. The article conveys the idea that the artistic underground environment of Transcarpathia is a definite and courageous response of creative personalities to the reactionary social phenomena of the 1960s – 1980s, and the general analysis of alternative painting genre of Transcarpathia in the 1970s – 1980s reveals a wide range of influences both of world art trends and features of ethno-culture of Transcarpathia. The works of F. Manailo, E. Kremnytska, P. Bedzir, F. Seman, Y. Cherni were distinguished by their individual technique of creating compositions, the search for new methods of shaping, which rather corresponded to the state of enlightenment. Unlike artistic manifestations in the spirit of socialist realism,
本文试图从艺术和美学的角度分析20世纪60 - 80年代的跨喀尔巴阡山脉的现代艺术，将其定义为不墨守成规的地下艺术，认为艺术家们确实违背了既定的社会哲学、伦理和美学规范，并将他们的艺术导向自我表达。在分析了赫鲁晓夫“解冻”时期和20世纪80年代外喀尔巴阡山脉的艺术进程后，作者概述了在外喀尔巴阡山脉的艺术环境以及P. Bedzir, E. Kremnytska和F. Seman的作品中，不墨成俗成的思想的表现和传播的先决条件。文章认为，《喀尔巴阡山脉》的地下艺术环境是创作人士对60 - 80年代反动社会现象的明确而勇敢的回应，并通过对70 - 80年代《喀尔巴阡山脉》另类绘画流派的综合分析，揭示了世界艺术思潮和《喀尔巴阡山脉》民族文化特征的广泛影响。F. Manailo, E. Kremnytska, P. Bedzir, F. Seman, Y. Cherni的作品以其独特的创作技巧而闻名，他们寻找新的造型方法，这与启蒙状态相对应。与社会主义现实主义精神的艺术表现不同，
{"title":"ARTISTIC NONCONFORMISM OF TRANSCARPATHIA OF 1960–1980: INTELLECTUAL BACKGROUND AND PERSONALITIES","authors":"Oksana Havrosh, Nataliia Rebryk","doi":"10.30525/978-9934-26-065-0-8","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-8","url":null,"abstract":"The article attempts an artistic and aesthetic analysis of modern art of Transcarpathia in the 1960s – 1980s, defined as nonconformism and underground, arguing that artists really contradicted the established philosophical, ethical, aesthetic codes of society and directed their art to self-expression. Having analyzed art processes in Transcarpathia during the Khrushchev «Thaw» and the 1980s, the authors have outlined the preconditions of manifestation and dissemination of ideas of nonconformism in the artistic environment of Transcarpathia and in the works of P. Bedzir, E. Kremnytska and F. Seman. The article conveys the idea that the artistic underground environment of Transcarpathia is a definite and courageous response of creative personalities to the reactionary social phenomena of the 1960s – 1980s, and the general analysis of alternative painting genre of Transcarpathia in the 1970s – 1980s reveals a wide range of influences both of world art trends and features of ethno-culture of Transcarpathia. The works of F. Manailo, E. Kremnytska, P. Bedzir, F. Seman, Y. Cherni were distinguished by their individual technique of creating compositions, the search for new methods of shaping, which rather corresponded to the state of enlightenment. Unlike artistic manifestations in the spirit of socialist realism,","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114293194","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 : 1900-01-01DOI: 10.30525/978-9934-26-065-0-14
Oleksiy Rohotchenko
The limit of perception and understanding of the artistic problems of the postwar period should be considered the seventies, or rather their second half. It is hard to say why it was this period that entered the history of the country and the history of art as a time of brutal repression of free thought, a time marked by numerous criminal cases opened against nationally conscientious artists – painters, writers, journalists, composers. It was a turning point for a changed public perception of artistic processes in general and the leading artistic method at the time – socialist realism – in particular. Weak manifestations of the new understanding and, most importantly, the first attempts to publish facts from the national history of art, which seemed to have been forever hidden in the basements of Soviet power, became the first bricks in the wall of subsequent art and cultural studies. Despite the fact that science still remained entirely Soviet, the democratic component declared itself.
{"title":"DIFFERENT PERSPECTIVES ON THE SAME ISSUE","authors":"Oleksiy Rohotchenko","doi":"10.30525/978-9934-26-065-0-14","DOIUrl":"https://doi.org/10.30525/978-9934-26-065-0-14","url":null,"abstract":"The limit of perception and understanding of the artistic problems of the postwar period should be considered the seventies, or rather their second half. It is hard to say why it was this period that entered the history of the country and the history of art as a time of brutal repression of free thought, a time marked by numerous criminal cases opened against nationally conscientious artists – painters, writers, journalists, composers. It was a turning point for a changed public perception of artistic processes in general and the leading artistic method at the time – socialist realism – in particular. Weak manifestations of the new understanding and, most importantly, the first attempts to publish facts from the national history of art, which seemed to have been forever hidden in the basements of Soviet power, became the first bricks in the wall of subsequent art and cultural studies. Despite the fact that science still remained entirely Soviet, the democratic component declared itself.","PeriodicalId":385306,"journal":{"name":"ART: METAMORPHOSES AND DISCOURSES","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128825958","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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