Marie Neurath was a pioneer in information design who co-developed the graphic approach Isotype and co-founded the Isotype Institute. This article elaborates on Marie’s creation of an educational exhibition in 1946 in Bilston, UK, advocating for a slum clearance project in a working-class neighborhood of Bilston. For over ten months, Marie carefully designed twelve charts that would help viewers understand the importance of the project for health and happiness. Despite being one of Isotype’s most visionary schemes for public education, Marie’s original contribution is unclear, in part because a new town clerk changed the housing exhibition at the last minute, bringing in “attractions” such as an ant farm and related cartoons. This article draws on correspondence, sketches, and notes from The Otto and Marie Neurath Isotype Collection at the University of Reading to show that Marie’s work should be recognized as a central contribution in the Bilston work.
Marie Neurath是信息设计的先驱，她与人共同开发了图形方法Isotype，并共同创立了Isotype研究所。本文阐述了玛丽1946年在英国比尔斯顿举办的一个教育展览，倡导在比尔斯顿的一个工人阶级社区开展贫民窟清理项目。在十多个月的时间里，玛丽精心设计了十二张图表，帮助观众理解该项目对健康和幸福的重要性。尽管玛丽是Isotype最有远见的公共教育计划之一，但她最初的贡献尚不清楚，部分原因是一位新来的镇职员在最后一刻改变了住房展览，带来了蚂蚁农场和相关漫画等“景点”。这篇文章引用了雷丁大学奥托和玛丽·诺伊拉斯同位素收藏的信件、草图和笔记，表明玛丽的作品应该被公认为对比尔斯顿作品的核心贡献。
{"title":"Marie Neurath: Designing Bilston’s Housing Exhibition","authors":"P. Pedersen","doi":"10.1093/jdh/epac051","DOIUrl":"https://doi.org/10.1093/jdh/epac051","url":null,"abstract":"\u0000 Marie Neurath was a pioneer in information design who co-developed the graphic approach Isotype and co-founded the Isotype Institute. This article elaborates on Marie’s creation of an educational exhibition in 1946 in Bilston, UK, advocating for a slum clearance project in a working-class neighborhood of Bilston. For over ten months, Marie carefully designed twelve charts that would help viewers understand the importance of the project for health and happiness. Despite being one of Isotype’s most visionary schemes for public education, Marie’s original contribution is unclear, in part because a new town clerk changed the housing exhibition at the last minute, bringing in “attractions” such as an ant farm and related cartoons. This article draws on correspondence, sketches, and notes from The Otto and Marie Neurath Isotype Collection at the University of Reading to show that Marie’s work should be recognized as a central contribution in the Bilston work.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49436172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sarah Cheang, Katie Irani, Livia Rezende, Shehnaz Suterwalla
Abstract Decolonial approaches foreground the necessity for design historians to rethink their methodologies and terms of debate to recognize the impact of colonial legacies. Only then is it possible to make changes toward social and cognitive justice. This piece explores new models for working collectively with history and memory across oral registers to include the colloquial and moments of pause, of taking breath. In mid-2020, four design historians teamed up to develop experimental, multimedia methods of working to explore new critical design histories. By using “otherwise” methods to look, listen, and read closely, this piece foregrounds the making of space for new interpretations of thinking and writing. The tensions between memories, stories, and histories are interpreted and challenged using concepts such as breath, voice, palimpsest, circle and rhythm. Exploring translation, opacity, embodiment, positionality, and nonlinearity emerged as crucial to questioning the terms under which design history can be transformed.
{"title":"In Between Breaths: Memories, Stories, and Otherwise Design Histories","authors":"Sarah Cheang, Katie Irani, Livia Rezende, Shehnaz Suterwalla","doi":"10.1093/jdh/epac038","DOIUrl":"https://doi.org/10.1093/jdh/epac038","url":null,"abstract":"Abstract Decolonial approaches foreground the necessity for design historians to rethink their methodologies and terms of debate to recognize the impact of colonial legacies. Only then is it possible to make changes toward social and cognitive justice. This piece explores new models for working collectively with history and memory across oral registers to include the colloquial and moments of pause, of taking breath. In mid-2020, four design historians teamed up to develop experimental, multimedia methods of working to explore new critical design histories. By using “otherwise” methods to look, listen, and read closely, this piece foregrounds the making of space for new interpretations of thinking and writing. The tensions between memories, stories, and histories are interpreted and challenged using concepts such as breath, voice, palimpsest, circle and rhythm. Exploring translation, opacity, embodiment, positionality, and nonlinearity emerged as crucial to questioning the terms under which design history can be transformed.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134983442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article is the product of a research project about the role of image in the creation of the Colombian nation during the nineteenth century. Part of that image depended on the individuals it identified, their social status, their lifestyle, and their occupation. The image of fashion as a characteristic social identifier, as an icon, was a bearer of anthropographic symbols. In nineteenth-century Colombia, those symbols were connected to a republican identity characterized by its colonial heritage, determined by race, and by garments distinctive of specific social classes: formerly subjects and, later, citizens. Thus, the image that fashion conveyed as the “skin of the skin” of the republican ancestors, the elite, and the people constitutes a legacy that encompasses everything, from the manufacture of textiles and the indigenous ruana, to a kind of textile mestizaje with aspects of European provenance. Items from collections in museums, libraries, and archives, were compared to texts composed by travelers and illustrators, in order to unveil elements of national identity in what emerges as the landscape of fashion in Colombia during the nineteenth century.
{"title":"Fashion and Image as Anthropographic Elements in Nineteenth-century Colombia","authors":"Jairo Bermúdez-Castillo, Astrid Barrios Barraza, Claudia Patricia Delgado Osorio, Maristela Verastegui","doi":"10.1093/jdh/epac050","DOIUrl":"https://doi.org/10.1093/jdh/epac050","url":null,"abstract":"Abstract This article is the product of a research project about the role of image in the creation of the Colombian nation during the nineteenth century. Part of that image depended on the individuals it identified, their social status, their lifestyle, and their occupation. The image of fashion as a characteristic social identifier, as an icon, was a bearer of anthropographic symbols. In nineteenth-century Colombia, those symbols were connected to a republican identity characterized by its colonial heritage, determined by race, and by garments distinctive of specific social classes: formerly subjects and, later, citizens. Thus, the image that fashion conveyed as the “skin of the skin” of the republican ancestors, the elite, and the people constitutes a legacy that encompasses everything, from the manufacture of textiles and the indigenous ruana, to a kind of textile mestizaje with aspects of European provenance. Items from collections in museums, libraries, and archives, were compared to texts composed by travelers and illustrators, in order to unveil elements of national identity in what emerges as the landscape of fashion in Colombia during the nineteenth century.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135423808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article interrogates the role of print culture and visual communication design in the permeation of Turkish national consciousness into everyday practices. It seeks to understand the phenomenon of “banal nationalism,” argued by Michael Billig, in a broader context of cultural production advocated by Tim Edensor. It does this by looking into Turkey’s first liberalization period in the 1950s where a boosting print industry, a standard print language, and high literacy contributed to the daily reproduction of a collective historical past through representations. This period is analyzed through publications like Sunday comic strips, advertorial giveaways, and illustrated history journals that emulate popular American formats in the commodification of history. These are treated as material tools to present and disseminate an imaginary reconciliation of secular modernism with imperial history in a new print culture. This analysis reveals how representations in the foreground of everyday cultural artifacts are used to produce and reproduce difference that designates a distinct national consciousness detached from the realm of state. It also sheds light on the prevalence of identity negotiation and the commoditization of culture in the professionalization of visual communication disciplines in non-Western design paradigms.
{"title":"Picturing National History: Turkey’s Popular Nationalism on the Rise Through the 1950s New Print Culture","authors":"Emin Artun Ozguner","doi":"10.1093/jdh/epac057","DOIUrl":"https://doi.org/10.1093/jdh/epac057","url":null,"abstract":"Abstract This article interrogates the role of print culture and visual communication design in the permeation of Turkish national consciousness into everyday practices. It seeks to understand the phenomenon of “banal nationalism,” argued by Michael Billig, in a broader context of cultural production advocated by Tim Edensor. It does this by looking into Turkey’s first liberalization period in the 1950s where a boosting print industry, a standard print language, and high literacy contributed to the daily reproduction of a collective historical past through representations. This period is analyzed through publications like Sunday comic strips, advertorial giveaways, and illustrated history journals that emulate popular American formats in the commodification of history. These are treated as material tools to present and disseminate an imaginary reconciliation of secular modernism with imperial history in a new print culture. This analysis reveals how representations in the foreground of everyday cultural artifacts are used to produce and reproduce difference that designates a distinct national consciousness detached from the realm of state. It also sheds light on the prevalence of identity negotiation and the commoditization of culture in the professionalization of visual communication disciplines in non-Western design paradigms.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135423809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the nineteenth century, acoustic hearing aids (such as ear trumpets or conversation tubes) became ubiquitous attributes of deaf people from polite society. These prostheses were a visible sign of otherwise invisible deafness. Although some deaf people used hearing aids openly and proudly, and constantly attempted to convince others that using them was nothing to be ashamed of, others wanted to hide these stigmatizing devices. Therefore, they were equally (or even more) concerned with their visibility than with their performance when buying these devices. For this reason, manufacturers tried to design instruments to meet the needs of their customers. This article investigates two design strategies that were used by ear trumpet producers to maneuver between the troubling visibility of these instruments and their performance: the first is hypervisibility—designing hearing aids as luxurious objects of conspicuous consumption; the second is invisibility, which was achieved with miniaturization and camouflage. Both these aesthetic strategies are considered in the context of Victorian technophilia and regimes of the body. As hearing aids became more accessible to the middle class, design patterns spread beyond elite consumption.
{"title":"“Thrice Precious Tube!” Negotiating the Visibility and Efficiency of Early Hearing Aids","authors":"M. Zdrodowska","doi":"10.1093/jdh/epac052","DOIUrl":"https://doi.org/10.1093/jdh/epac052","url":null,"abstract":"\u0000 In the nineteenth century, acoustic hearing aids (such as ear trumpets or conversation tubes) became ubiquitous attributes of deaf people from polite society. These prostheses were a visible sign of otherwise invisible deafness. Although some deaf people used hearing aids openly and proudly, and constantly attempted to convince others that using them was nothing to be ashamed of, others wanted to hide these stigmatizing devices. Therefore, they were equally (or even more) concerned with their visibility than with their performance when buying these devices. For this reason, manufacturers tried to design instruments to meet the needs of their customers.\u0000 This article investigates two design strategies that were used by ear trumpet producers to maneuver between the troubling visibility of these instruments and their performance: the first is hypervisibility—designing hearing aids as luxurious objects of conspicuous consumption; the second is invisibility, which was achieved with miniaturization and camouflage. Both these aesthetic strategies are considered in the context of Victorian technophilia and regimes of the body. As hearing aids became more accessible to the middle class, design patterns spread beyond elite consumption.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42492164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Special Issue of the Journal of Design History: Design History and Digital Material Culture","authors":"Anna K Talley","doi":"10.1093/jdh/epac059","DOIUrl":"https://doi.org/10.1093/jdh/epac059","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43685301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Any attempt to approach plastics is inevitably challenged by the materiality of the subject—the very presence of plastics. These books, although they approach plastics differently, both begin by acknowledging the presence, or perhaps rather “perseverance” of plastics—found sometimes years later and far from their place of origin. Plastics are everywhere and they do not go away. We might dispose of them, but they eventually wash back up. The implications of plastics’ perseverance are taken up differently in each book. Even though the authors might use similar case studies, they part ways as they frame their arguments. In the edited collection entitled Plastic Legacies, Trisia Farrelly, Sy Taffel, and Ian Shaw present a neat and organized documentation of the circulation of plastics and initiatives that have led to large-scale action or legislation. In Plastic Matter, Heather Davis presents an intriguing journey into the meanings and materialities of plastics, as embedded in our daily life practices and the way we think.
{"title":"Plastic MatterPlastic Legacies: Pollution, Persistence, and Politics","authors":"Damla Tonuk","doi":"10.1093/jdh/epac054","DOIUrl":"https://doi.org/10.1093/jdh/epac054","url":null,"abstract":"Any attempt to approach plastics is inevitably challenged by the materiality of the subject—the very presence of plastics. These books, although they approach plastics differently, both begin by acknowledging the presence, or perhaps rather “perseverance” of plastics—found sometimes years later and far from their place of origin. Plastics are everywhere and they do not go away. We might dispose of them, but they eventually wash back up. The implications of plastics’ perseverance are taken up differently in each book. Even though the authors might use similar case studies, they part ways as they frame their arguments. In the edited collection entitled Plastic Legacies, Trisia Farrelly, Sy Taffel, and Ian Shaw present a neat and organized documentation of the circulation of plastics and initiatives that have led to large-scale action or legislation. In Plastic Matter, Heather Davis presents an intriguing journey into the meanings and materialities of plastics, as embedded in our daily life practices and the way we think.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135694554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The design disciplines that Teasley addresses in her book—such as graphic and product design—took root in the wake of the Meiji-era (1868–1912), when social, political, and economic transformations upended local cottage industries and prompted the makers of luxury and craft goods to consider how to apply existing design and production practices to make new types of objects for new markets, both at home and overseas. The Arita vases displayed at the Philadelphia Centennial Exposition of 1876, for example, exemplified high technical skill while also promoting a particular image of “Japan” that responded to Western tastes. Artisans across various industries, from ceramics to textiles to lacquerware, began to shift their attention to Western markets and expand their product lines (to include such things as lacquered hairbrushes and glove boxes), developing new patterns, motifs, and color palettes and experimenting with new production techniques and technologies.
{"title":"Designing Modern Japan","authors":"Michelle L Hauk","doi":"10.1093/jdh/epac053","DOIUrl":"https://doi.org/10.1093/jdh/epac053","url":null,"abstract":"The design disciplines that Teasley addresses in her book—such as graphic and product design—took root in the wake of the Meiji-era (1868–1912), when social, political, and economic transformations upended local cottage industries and prompted the makers of luxury and craft goods to consider how to apply existing design and production practices to make new types of objects for new markets, both at home and overseas. The Arita vases displayed at the Philadelphia Centennial Exposition of 1876, for example, exemplified high technical skill while also promoting a particular image of “Japan” that responded to Western tastes. Artisans across various industries, from ceramics to textiles to lacquerware, began to shift their attention to Western markets and expand their product lines (to include such things as lacquered hairbrushes and glove boxes), developing new patterns, motifs, and color palettes and experimenting with new production techniques and technologies.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136197864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cristóbal Balenciaga’s initial period in Spain (1917–1936), when he was working to develop himself as a couturier and consolidate his business in the luxury sector, is less known than his Parisian period (1937–1968), due to the scarcity of available information. This article analyses the designer as a buyer of haute couture licenses during that initial period. His biographers claim that in the early years of his professional development Balenciaga would attend to the presentations of prestigious French Maisons where he acquired pieces that he later sold in his establishment in San Sebastián, and that he studied to improve his own technique. Among these Maisons is that of Madeleine Vionnet. However, the restrictive licensing policy applied by the French couturière, puts in doubt the idea that Balenciaga had once been authorized to acquire pieces from her collections. Based on research in the archives of the Musée des Arts Décoratifs, the Bibliothèque Historique de la Ville de Paris and the Archives de Paris, and in the Spanish, French and North American press published between 1920 and 1930, this article provides new findings that confirm the existence of just such a commercial relationship. It reveals when it emerged, specifies which Vionnet pieces Balenciaga acquired and studies the influence of Vionnet’s technique and aesthetics on some of the Basque couturier’s creations prior to his establishment in Paris.
Cristóbal巴黎世家在西班牙的最初时期(1917-1936)，当时他正在努力发展自己作为一名女装设计师，并巩固他在奢侈品领域的业务，由于可用信息的缺乏，不如他在巴黎时期(1937-1968)为人所知。这篇文章分析了设计师在最初阶段作为高级时装授权的购买者。他的传记作者声称，在他职业发展的早期，巴黎世家会参加著名法国品牌的展示，在那里他获得了一些作品，后来在他位于圣Sebastián的公司出售，他还学习提高自己的技术。玛德琳·维奥内的家就是其中之一。然而，法国时装设计公司实施的限制性许可政策，让人怀疑巴黎世家是否曾被授权购买她的系列作品。基于对mus des Arts dacriatifs、biblioth Historique de la Ville de Paris和archives de Paris档案的研究，以及在1920年至1930年间出版的西班牙、法国和北美媒体的研究，本文提供了新的发现，证实了这种商业关系的存在。它揭示了它的出现时间，详细说明了巴黎世家获得了哪些维奥内的作品，并研究了维奥内的技术和美学对这位巴斯克时装设计师在巴黎成立之前的一些作品的影响。
{"title":"Balenciaga, licensee of Maison Vionnet","authors":"Ana Balda","doi":"10.1093/jdh/epac046","DOIUrl":"https://doi.org/10.1093/jdh/epac046","url":null,"abstract":"Cristóbal Balenciaga’s initial period in Spain (1917–1936), when he was working to develop himself as a couturier and consolidate his business in the luxury sector, is less known than his Parisian period (1937–1968), due to the scarcity of available information. This article analyses the designer as a buyer of haute couture licenses during that initial period. His biographers claim that in the early years of his professional development Balenciaga would attend to the presentations of prestigious French Maisons where he acquired pieces that he later sold in his establishment in San Sebastián, and that he studied to improve his own technique. Among these Maisons is that of Madeleine Vionnet. However, the restrictive licensing policy applied by the French couturière, puts in doubt the idea that Balenciaga had once been authorized to acquire pieces from her collections. Based on research in the archives of the Musée des Arts Décoratifs, the Bibliothèque Historique de la Ville de Paris and the Archives de Paris, and in the Spanish, French and North American press published between 1920 and 1930, this article provides new findings that confirm the existence of just such a commercial relationship. It reveals when it emerged, specifies which Vionnet pieces Balenciaga acquired and studies the influence of Vionnet’s technique and aesthetics on some of the Basque couturier’s creations prior to his establishment in Paris.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138512361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Craftworkers in Nineteenth-Century Scotland: Making and Adapting in an Industrial Age","authors":"T. Fisher","doi":"10.1093/jdh/epac044","DOIUrl":"https://doi.org/10.1093/jdh/epac044","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48132111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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