Pub Date : 2022-05-31DOI: 10.1177/20594364221105643
W. He, Lei Lin, Anthony Y. H. Fung
This paper explicates a new form of cultural economy, namely individual cultural economy, with the case of online writing platform. Critical studies of creative workers on online platforms have revealed the capitalist manipulation and exploitation in this new technologized cultural economy, and among those, online fiction writers are one of the fashionable occupations for slash youth in China. Based on survey and interviews, this paper elucidates why some youth in China chose to commit to taking online writing jobs, despite the precarious conditions. This paper argues that online fiction writers, besides deriving satisfaction and pleasure from their work, tag on are able to take advantage of the cultural logic of these capitalist-manipulated platforms, and create for themselves an individual, single person cultural economy between themselves and the platform. Different from the collective, organized cultural economy in most of the social networked platforms, such an individual economy encourages youth to create an alternative lifestyle from that of the mainstream socialist economy.
{"title":"Online Fiction Writers, Labor, and Cultural Economy","authors":"W. He, Lei Lin, Anthony Y. H. Fung","doi":"10.1177/20594364221105643","DOIUrl":"https://doi.org/10.1177/20594364221105643","url":null,"abstract":"This paper explicates a new form of cultural economy, namely individual cultural economy, with the case of online writing platform. Critical studies of creative workers on online platforms have revealed the capitalist manipulation and exploitation in this new technologized cultural economy, and among those, online fiction writers are one of the fashionable occupations for slash youth in China. Based on survey and interviews, this paper elucidates why some youth in China chose to commit to taking online writing jobs, despite the precarious conditions. This paper argues that online fiction writers, besides deriving satisfaction and pleasure from their work, tag on are able to take advantage of the cultural logic of these capitalist-manipulated platforms, and create for themselves an individual, single person cultural economy between themselves and the platform. Different from the collective, organized cultural economy in most of the social networked platforms, such an individual economy encourages youth to create an alternative lifestyle from that of the mainstream socialist economy.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"5 1","pages":"169 - 182"},"PeriodicalIF":2.1,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84619709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-26DOI: 10.1177/20594364221093768
Eureka Shiqi Wang
In post-THAAD period, anti-Hallyu sentiments in China have never faded out, exemplified by outbursts of anger from staunch nationalists. Social media has been considered by scholars as a force for fandom nationalism, meaning that the nation is an idol for online nationalists to love. Worshiping different idols from the nationalists, K-pop fans in China appear to take on the self-effacing ethos, while, their enthusiasm towards Hallyu has never been incinerated. This study sets out with how Chinese K-pop fans behave as deliberate consumers of Hallyu despite the authorities’ informal tamping down on South Korean media products and domestic nationalists’ constant outpouring of anti-Hallyu sentiments. After conducting digital ethnography on Weibo, this study finds that consumerism is political and employed by China’s K-pop fandom as a unique form of fan activism, while it also works as a safety valve for them to negotiate with the nationalists without undercutting the ideology.
{"title":"Contested fandom and nationalism: How K-Pop fans perform political consumerism in China","authors":"Eureka Shiqi Wang","doi":"10.1177/20594364221093768","DOIUrl":"https://doi.org/10.1177/20594364221093768","url":null,"abstract":"In post-THAAD period, anti-Hallyu sentiments in China have never faded out, exemplified by outbursts of anger from staunch nationalists. Social media has been considered by scholars as a force for fandom nationalism, meaning that the nation is an idol for online nationalists to love. Worshiping different idols from the nationalists, K-pop fans in China appear to take on the self-effacing ethos, while, their enthusiasm towards Hallyu has never been incinerated. This study sets out with how Chinese K-pop fans behave as deliberate consumers of Hallyu despite the authorities’ informal tamping down on South Korean media products and domestic nationalists’ constant outpouring of anti-Hallyu sentiments. After conducting digital ethnography on Weibo, this study finds that consumerism is political and employed by China’s K-pop fandom as a unique form of fan activism, while it also works as a safety valve for them to negotiate with the nationalists without undercutting the ideology.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"12 1","pages":"202 - 218"},"PeriodicalIF":2.1,"publicationDate":"2022-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86605459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-26DOI: 10.1177/20594364221089985
Seio Nakajima
{"title":"Book Review: Chinese Film Festivals: Sites of Translation","authors":"Seio Nakajima","doi":"10.1177/20594364221089985","DOIUrl":"https://doi.org/10.1177/20594364221089985","url":null,"abstract":"","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"6 1","pages":"380 - 382"},"PeriodicalIF":2.1,"publicationDate":"2022-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75722428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-26DOI: 10.1177/20594364221094668
X. Li, Juan Feng
Social media influencers are emerging as a new force in shaping public discourse and raising public awareness of socio-political agendas in the digital space. This paper explores the role of influencers as part of the citizens group in nation branding by looking into their interactions with followers through the lens of authenticity. It analyzes the networked narratives generated by the influencers and followers, using the mixed methods of blending content analysis with social network analysis. The findings identify the potential of influencers evolving as a crucial force in contributing to a representative national brand informed through imbuing authenticity with engagement, featuring valued-based content, interactivity, creativity and intrinsic motivations within an ethical communication mechanism. It advances influencer studies in nation branding by underpinning the two-way construct of authenticity in generating influence; and informs the development of strategies for engaging citizens in nation branding through influencers using authenticity. Considering the central role of China in international economics, politics and culture, this article has significant domestic and regional implications.
{"title":"Influenced or to be influenced: Engaging social media influencers in nation branding through the lens of authenticity","authors":"X. Li, Juan Feng","doi":"10.1177/20594364221094668","DOIUrl":"https://doi.org/10.1177/20594364221094668","url":null,"abstract":"Social media influencers are emerging as a new force in shaping public discourse and raising public awareness of socio-political agendas in the digital space. This paper explores the role of influencers as part of the citizens group in nation branding by looking into their interactions with followers through the lens of authenticity. It analyzes the networked narratives generated by the influencers and followers, using the mixed methods of blending content analysis with social network analysis. The findings identify the potential of influencers evolving as a crucial force in contributing to a representative national brand informed through imbuing authenticity with engagement, featuring valued-based content, interactivity, creativity and intrinsic motivations within an ethical communication mechanism. It advances influencer studies in nation branding by underpinning the two-way construct of authenticity in generating influence; and informs the development of strategies for engaging citizens in nation branding through influencers using authenticity. Considering the central role of China in international economics, politics and culture, this article has significant domestic and regional implications.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"7 1","pages":"219 - 240"},"PeriodicalIF":2.1,"publicationDate":"2022-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86442678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-21DOI: 10.1177/20594364221096498
N. Zhang, Yunrui Wu
This article investigates the game video creators’ playbour on Bilibili, a leading Chinese user-generated content platform with a focus on animation, comics and games. The creators’ labour involves creating content through affective labour and managing the fan communities through emotional labour, situated in a network production model. Current studies of platformed playbour either interchangeably use affective and emotional labour or rarely discuss the interplay between the two concepts. We argue that it is important to recognize their nuance and investigate their relationship. Our research clarifies the difference between affective labour and emotional labour and discovers the conflict between the two types of labour. We argue that the conflict derives from enhanced alienation of leisure activities caused by platformization of playbour. Although the video creators consider strategies to solve conflicts, they can barely escape from the unequal labour relationship, constructed by the platform. This study involves semi-structured interviews with 13 playworkers, one Bilibili employee and three advertisers. The playworkers’ Bilibili channels were also observed online from 2019 to 2020.
{"title":"Platformed playworkers: Game video creators’ affective labour and emotional labour on Bilibili","authors":"N. Zhang, Yunrui Wu","doi":"10.1177/20594364221096498","DOIUrl":"https://doi.org/10.1177/20594364221096498","url":null,"abstract":"This article investigates the game video creators’ playbour on Bilibili, a leading Chinese user-generated content platform with a focus on animation, comics and games. The creators’ labour involves creating content through affective labour and managing the fan communities through emotional labour, situated in a network production model. Current studies of platformed playbour either interchangeably use affective and emotional labour or rarely discuss the interplay between the two concepts. We argue that it is important to recognize their nuance and investigate their relationship. Our research clarifies the difference between affective labour and emotional labour and discovers the conflict between the two types of labour. We argue that the conflict derives from enhanced alienation of leisure activities caused by platformization of playbour. Although the video creators consider strategies to solve conflicts, they can barely escape from the unequal labour relationship, constructed by the platform. This study involves semi-structured interviews with 13 playworkers, one Bilibili employee and three advertisers. The playworkers’ Bilibili channels were also observed online from 2019 to 2020.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"92 1 1","pages":"319 - 339"},"PeriodicalIF":2.1,"publicationDate":"2022-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89445912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-17DOI: 10.1177/20594364221095895
Jiaxi Hou, Yanhui Zhang
The meanings of being “underclass” in China are increasingly ambivalent when various disadvantaged social groups also get access to digital platforms which become more and more influential in not just facilitating people’s economic and cultural practices online but also mediating, distorting, and reshaping these processes. Using critical techno-cultural discourse analysis about how the underclass represent poverty and themselves by creating short videos and performing live-commerce on Kuaishou, this study finds that digital entrepreneurialism becomes an interlocking governmentality to discipline the underclass’ online participation. Afforded by the platform and operationalized by multiple networked actors, entrepreneurialism incorporates the underclass in the digitally mediated productive relationship and at the same time disciplines their online representation and exploits the involved entities through both platform labor and monetary investments to cultivate an underclass entrepreneurial subject. Although claiming to include and empower the diversified Chinese underclass, digital platforms actually reproduce the underclassness by mobilizing the calculated conformity among the underclass to experience the intertwining online and offline inequalities through digital entrepreneurship. Nonetheless, nuances of minor narratives still exist in the digitally mediated self-representation.
{"title":"“Selling Poverty” on Kuaishou: How entrepreneurialism disciplines Chinese underclass online participation","authors":"Jiaxi Hou, Yanhui Zhang","doi":"10.1177/20594364221095895","DOIUrl":"https://doi.org/10.1177/20594364221095895","url":null,"abstract":"The meanings of being “underclass” in China are increasingly ambivalent when various disadvantaged social groups also get access to digital platforms which become more and more influential in not just facilitating people’s economic and cultural practices online but also mediating, distorting, and reshaping these processes. Using critical techno-cultural discourse analysis about how the underclass represent poverty and themselves by creating short videos and performing live-commerce on Kuaishou, this study finds that digital entrepreneurialism becomes an interlocking governmentality to discipline the underclass’ online participation. Afforded by the platform and operationalized by multiple networked actors, entrepreneurialism incorporates the underclass in the digitally mediated productive relationship and at the same time disciplines their online representation and exploits the involved entities through both platform labor and monetary investments to cultivate an underclass entrepreneurial subject. Although claiming to include and empower the diversified Chinese underclass, digital platforms actually reproduce the underclassness by mobilizing the calculated conformity among the underclass to experience the intertwining online and offline inequalities through digital entrepreneurship. Nonetheless, nuances of minor narratives still exist in the digitally mediated self-representation.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"65 4 1","pages":"263 - 282"},"PeriodicalIF":2.1,"publicationDate":"2022-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85057730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-11DOI: 10.1177/20594364221090711
Zhuoxiao Xie
The popularity of Internet and mobile media in China has weaken the collective TV viewing culture in Chinese families. Behind the decline of television, the China Central Television’s Spring Festival Gala Show (Gala Show) is hard to maintain its glory and gradually being questioned and challenged. Why does TV viewing and Gala Show still matter in some families but not the others? This paper conceptualizes and analyzes how and why the Gala Show became a media tradition, in the Chinese family-nation cultural reproduction for more than three decades. Based on twofold interviewing data collected by 2015 and 2021, respectively, the study found that the invented media tradition-the Gala Show, stimulates the cultural changes and continuity of Chinese family cultural traditions from the golden age of television (from the 1980s to the late 2000s) onwards. In the long processes of its cultural transformation, the evolving media tradition blends past and present cultural materials in the social institution, thus (re)shaping the cultural practices and values of the participants. Moreover, the interviews revealed that ordinary people read the roles of Gala Show as a media tradition in Chinese families differently, because the social implications of the Gala Show shifted and reacted to the social and cultural transformation from the age of television onwards. Finally, regarding the dynamic social changes in media technologies, Spring Festival customs, and collective TV viewing cultures, the Gala Show reflects the divergent structure of feeling of different generations and families’ social and technological nostalgia about the technology and cultural formats of television in digital era. The established media tradition to some extent maintains the sense of cultural continuity and particularly anchors a safe zoom particular in nuclear families.
{"title":"The invention of Chinese “media tradition”: Mediatization of festival tradition and family cultural reproduction in contemporary China","authors":"Zhuoxiao Xie","doi":"10.1177/20594364221090711","DOIUrl":"https://doi.org/10.1177/20594364221090711","url":null,"abstract":"The popularity of Internet and mobile media in China has weaken the collective TV viewing culture in Chinese families. Behind the decline of television, the China Central Television’s Spring Festival Gala Show (Gala Show) is hard to maintain its glory and gradually being questioned and challenged. Why does TV viewing and Gala Show still matter in some families but not the others? This paper conceptualizes and analyzes how and why the Gala Show became a media tradition, in the Chinese family-nation cultural reproduction for more than three decades. Based on twofold interviewing data collected by 2015 and 2021, respectively, the study found that the invented media tradition-the Gala Show, stimulates the cultural changes and continuity of Chinese family cultural traditions from the golden age of television (from the 1980s to the late 2000s) onwards. In the long processes of its cultural transformation, the evolving media tradition blends past and present cultural materials in the social institution, thus (re)shaping the cultural practices and values of the participants. Moreover, the interviews revealed that ordinary people read the roles of Gala Show as a media tradition in Chinese families differently, because the social implications of the Gala Show shifted and reacted to the social and cultural transformation from the age of television onwards. Finally, regarding the dynamic social changes in media technologies, Spring Festival customs, and collective TV viewing cultures, the Gala Show reflects the divergent structure of feeling of different generations and families’ social and technological nostalgia about the technology and cultural formats of television in digital era. The established media tradition to some extent maintains the sense of cultural continuity and particularly anchors a safe zoom particular in nuclear families.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"15 1","pages":"183 - 201"},"PeriodicalIF":2.1,"publicationDate":"2022-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87365782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-29DOI: 10.1177/20594364221098441
Lara Vanderstaay
{"title":"Book Review: Remaking Red classics in post-mao China: TV drama as popular media","authors":"Lara Vanderstaay","doi":"10.1177/20594364221098441","DOIUrl":"https://doi.org/10.1177/20594364221098441","url":null,"abstract":"","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"39 1","pages":"378 - 379"},"PeriodicalIF":2.1,"publicationDate":"2022-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84614016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-26DOI: 10.1177/20594364221097493
Isabel Fangyi Lu, Lili Wang
This paper explores the emerging platform entrepreneurship through an observational case study of one of the most prominent Kuaishou influencers, Xin Youzhi, and his 818 jiazu. Jiazus are influencer communities on Kuaishou, a Chinese livestreaming and e-commerce platform. Examining platform entrepreneurs through a relational lens, we illustrate the organisation and operation of the 818 jiazu and its interaction with the followers, the Kuaishou platform and the Chinese state. Identifying relations of mutuality, autonomy and domination, we find that 818 kiazu’s rise and fall manifest the relationality and contingency of entrepreneurial labours in the Chinese platform economy. We argue that Kuaishou jiazu can be understood as relational entrepreneurs who need new sociotechnical skills to navigate various relationships with the platform, users and state regulations. Our study contributes to understanding the organisation and practices of livestreamers by foregrounding the entrepreneurial agency of the influencer community.
{"title":"Relational platform entrepreneurs: Live commerce and the 818 Jiazu","authors":"Isabel Fangyi Lu, Lili Wang","doi":"10.1177/20594364221097493","DOIUrl":"https://doi.org/10.1177/20594364221097493","url":null,"abstract":"This paper explores the emerging platform entrepreneurship through an observational case study of one of the most prominent Kuaishou influencers, Xin Youzhi, and his 818 jiazu. Jiazus are influencer communities on Kuaishou, a Chinese livestreaming and e-commerce platform. Examining platform entrepreneurs through a relational lens, we illustrate the organisation and operation of the 818 jiazu and its interaction with the followers, the Kuaishou platform and the Chinese state. Identifying relations of mutuality, autonomy and domination, we find that 818 kiazu’s rise and fall manifest the relationality and contingency of entrepreneurial labours in the Chinese platform economy. We argue that Kuaishou jiazu can be understood as relational entrepreneurs who need new sociotechnical skills to navigate various relationships with the platform, users and state regulations. Our study contributes to understanding the organisation and practices of livestreamers by foregrounding the entrepreneurial agency of the influencer community.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"15 1","pages":"283 - 302"},"PeriodicalIF":2.1,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84737644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-26DOI: 10.1177/20594364221095896
Jia Guo
Yesheng (野生), which literally translates to ‘wild growing’, is a Chinese internet term to describe social media creators who do not have contracts with multichannel network companies and operate their accounts independently. Drawing from in-depth interviews with eight current and former yesheng female lifestyle bloggers on the Chinese social media platform Xiaohongshu (小红书), this article examines gendered entrepreneurial labour in relation to the platformisation of Chinese digital networks through the case study. On the one hand, taking gender and class formation into account, I propose that yesheng female lifestyle bloggers showcase a kind of postfeminist entrepreneurialism with Chinese specificities, which is encouraged by the development of Chinese social media platforms and the wanghong economy. On the other hand, yesheng bloggers’ entrepreneurial labour is governed, regulated and commercialised by powerful social media platforms. Situated in a broader context of gender politics in contemporary China, this article demonstrates the complexities of gendered entrepreneurialism and the platformisation of labour from the perspective of feminist media studies.
{"title":"The postfeminist entrepreneurial self and the platformisation of labour: A case study of yesheng female lifestyle bloggers on Xiaohongshu","authors":"Jia Guo","doi":"10.1177/20594364221095896","DOIUrl":"https://doi.org/10.1177/20594364221095896","url":null,"abstract":"Yesheng (野生), which literally translates to ‘wild growing’, is a Chinese internet term to describe social media creators who do not have contracts with multichannel network companies and operate their accounts independently. Drawing from in-depth interviews with eight current and former yesheng female lifestyle bloggers on the Chinese social media platform Xiaohongshu (小红书), this article examines gendered entrepreneurial labour in relation to the platformisation of Chinese digital networks through the case study. On the one hand, taking gender and class formation into account, I propose that yesheng female lifestyle bloggers showcase a kind of postfeminist entrepreneurialism with Chinese specificities, which is encouraged by the development of Chinese social media platforms and the wanghong economy. On the other hand, yesheng bloggers’ entrepreneurial labour is governed, regulated and commercialised by powerful social media platforms. Situated in a broader context of gender politics in contemporary China, this article demonstrates the complexities of gendered entrepreneurialism and the platformisation of labour from the perspective of feminist media studies.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"1 1","pages":"303 - 318"},"PeriodicalIF":2.1,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90705545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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