Pub Date : 2022-07-13DOI: 10.1080/10632921.2022.2093807
Christopher Gunter, Robin Nelson
Abstract The Canadian private sector also contributes to the heritage commemoration landscape by working with the government and accessing support programs. Arguably, one of the most impactful contemporary examples of the private sector’s heritage commemoration involvement are the Heritage Minutes (Minutes), which are sixty-second videos depicting historical narratives of events and people from Canadian history. Given their notoriety, the production and story selections for each Minute raises questions about the Canadian heritage landscape: who and what is represented or missing, and what are the implications? By examining these questions, this article aims to hold these Minutes—financed and authorized by government—to account and to understand what themes and messages these vignettes aim to impart on and authorize as ‘commemorative worthy’ to the Canadian public. This article focuses on examining the Minutes and documenting their thematic trends with a specific emphasis on identifying how marginalized groups are represented in the Minutes.
{"title":"Producing the Past: The Changing Protagonists of Canadian Heritage","authors":"Christopher Gunter, Robin Nelson","doi":"10.1080/10632921.2022.2093807","DOIUrl":"https://doi.org/10.1080/10632921.2022.2093807","url":null,"abstract":"Abstract The Canadian private sector also contributes to the heritage commemoration landscape by working with the government and accessing support programs. Arguably, one of the most impactful contemporary examples of the private sector’s heritage commemoration involvement are the Heritage Minutes (Minutes), which are sixty-second videos depicting historical narratives of events and people from Canadian history. Given their notoriety, the production and story selections for each Minute raises questions about the Canadian heritage landscape: who and what is represented or missing, and what are the implications? By examining these questions, this article aims to hold these Minutes—financed and authorized by government—to account and to understand what themes and messages these vignettes aim to impart on and authorize as ‘commemorative worthy’ to the Canadian public. This article focuses on examining the Minutes and documenting their thematic trends with a specific emphasis on identifying how marginalized groups are represented in the Minutes.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44344057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-01DOI: 10.1080/10632921.2022.2093806
M. Mullen, M. Harvey
Abstract Artistic work in Aotearoa has long been underpaid and undervalued. In this paper, we examine policy statements made by the New Zealand government from September 2017 until November 2020 about the nature and value of artistic work. Early statements appear to challenge the economization of the arts, and to suggest alternative ways the arts might be valued, including for their inherent connection to well-being and social justice. However, rather than moving the arts away from commercial imperatives, we argue that government initiatives have been implicitly equipping artists and arts organizations to deliver their own economization.
{"title":"A New Direction? The Arts and Central Government Policy in Aotearoa New Zealand, 2017–2020","authors":"M. Mullen, M. Harvey","doi":"10.1080/10632921.2022.2093806","DOIUrl":"https://doi.org/10.1080/10632921.2022.2093806","url":null,"abstract":"Abstract Artistic work in Aotearoa has long been underpaid and undervalued. In this paper, we examine policy statements made by the New Zealand government from September 2017 until November 2020 about the nature and value of artistic work. Early statements appear to challenge the economization of the arts, and to suggest alternative ways the arts might be valued, including for their inherent connection to well-being and social justice. However, rather than moving the arts away from commercial imperatives, we argue that government initiatives have been implicitly equipping artists and arts organizations to deliver their own economization.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48990500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-01DOI: 10.1080/10632921.2022.2080138
Katie Keeney, Yuha Jung
Abstract This paper explores arts leadership through the lens of systems intelligence, one leadership strategy that offers new ways of thinking and behaving applicable to a rapidly changing landscape. The authors employ a systematic literature review to 1) establish a foundation and then 2) examine this knowledge through the lens of systems intelligence to fill gaps in arts leadership theory and practice. The research concludes with a conceptual model and three leadership capacities that emerge from the convergence of foundational arts leadership literature and the systems intelligence frame: shared leadership, managerial creativity, and systems-based relationship building. Ultimately, this research offers collective foundational knowledge and advances emerging theory related to the conceptualization of arts leadership.
{"title":"Hidden in Plain Sight: Systems Intelligence in Arts Leadership","authors":"Katie Keeney, Yuha Jung","doi":"10.1080/10632921.2022.2080138","DOIUrl":"https://doi.org/10.1080/10632921.2022.2080138","url":null,"abstract":"Abstract This paper explores arts leadership through the lens of systems intelligence, one leadership strategy that offers new ways of thinking and behaving applicable to a rapidly changing landscape. The authors employ a systematic literature review to 1) establish a foundation and then 2) examine this knowledge through the lens of systems intelligence to fill gaps in arts leadership theory and practice. The research concludes with a conceptual model and three leadership capacities that emerge from the convergence of foundational arts leadership literature and the systems intelligence frame: shared leadership, managerial creativity, and systems-based relationship building. Ultimately, this research offers collective foundational knowledge and advances emerging theory related to the conceptualization of arts leadership.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46295097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-23DOI: 10.1080/10632921.2022.2080137
Jane Zheng, Jie He, Zhen Fan, Sabrina P.Y. Zhang, Hui Lin, Yuen-sang Leung
Abstract This research proposes a new method to map and classify art clusters, combining multiple dimensions of spatial and social network analyses. This method innovatively blends a historic GIS approach, spatial statistics and qualitative data analysis, and experiments with the Republican-period of Shanghai art world, known as the golden age of art and culture in Shanghai. The outcome is the identification of 11 major art clusters in eight selected years with unique characteristics. It also uncovers a partially correlated yet dialectic relationship between social network dynamics and cluster transformation in Shanghai. These findings fill a knowledge gap in Chinese art history.
{"title":"‘Mapping the Most Influential Art Districts in Shanghai (1912-1948) through Clustering Analysis’","authors":"Jane Zheng, Jie He, Zhen Fan, Sabrina P.Y. Zhang, Hui Lin, Yuen-sang Leung","doi":"10.1080/10632921.2022.2080137","DOIUrl":"https://doi.org/10.1080/10632921.2022.2080137","url":null,"abstract":"Abstract This research proposes a new method to map and classify art clusters, combining multiple dimensions of spatial and social network analyses. This method innovatively blends a historic GIS approach, spatial statistics and qualitative data analysis, and experiments with the Republican-period of Shanghai art world, known as the golden age of art and culture in Shanghai. The outcome is the identification of 11 major art clusters in eight selected years with unique characteristics. It also uncovers a partially correlated yet dialectic relationship between social network dynamics and cluster transformation in Shanghai. These findings fill a knowledge gap in Chinese art history.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43857529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-13DOI: 10.1080/10632921.2022.2073306
Tom Borrup
This edited volume by Kathleen Scherf provides an engaging roster of rural and small community voices, mostly from the global north, who share stories and describe research on creative tourism. Distinguishing and illustrating this brand appears one of the goals of the book, one that is only partly achieved as not all chapters fall squarely within that frame. The book makes important contributions by connecting conversations and literature from creative economy, cultural tourism, placemaking, rural development, place branding, heritage preservation, and cultural planning. Another contribution is – and where there is consistency – is with stories of communities finding and building on unique assets, retaining local control while welcoming outsiders. Authors position tourism efforts in the context of economic diversification of rural communities hard hit by outmigration, resource extraction, and climate change, presenting what Schref calls “tremendous and exciting opportunities for smaller communities” (2). Nancy Duxbury in Chapter 2 suggests these strategies also may avoid “urban colonization of countryside” (31). Authors assert that when well-grounded these tourism initiatives, “can be ecologically, socially, economically, and culturally sustainable” (2). Nominal critical assessment of this assertion is presented. Creative tourism is distinguished from cultural tourism and experience tourism with an emphasis, according to Duxbury, “placed on the creation process and capacity for the visitor to engage in the activity” (29). Scherf sees creative tourism responding to, “desires for authentic, human-scale immersion in local life, culture, and knowledge” (1). Smaller communities, Schref claims, are “especially well-suited to hosting tourists who seek connection with the local” (1). To fit the brand of creative tourism requires two sides of a coin. The first is
{"title":"Creative Tourism in Smaller Communities: Place, Culture, and Local Representation","authors":"Tom Borrup","doi":"10.1080/10632921.2022.2073306","DOIUrl":"https://doi.org/10.1080/10632921.2022.2073306","url":null,"abstract":"This edited volume by Kathleen Scherf provides an engaging roster of rural and small community voices, mostly from the global north, who share stories and describe research on creative tourism. Distinguishing and illustrating this brand appears one of the goals of the book, one that is only partly achieved as not all chapters fall squarely within that frame. The book makes important contributions by connecting conversations and literature from creative economy, cultural tourism, placemaking, rural development, place branding, heritage preservation, and cultural planning. Another contribution is – and where there is consistency – is with stories of communities finding and building on unique assets, retaining local control while welcoming outsiders. Authors position tourism efforts in the context of economic diversification of rural communities hard hit by outmigration, resource extraction, and climate change, presenting what Schref calls “tremendous and exciting opportunities for smaller communities” (2). Nancy Duxbury in Chapter 2 suggests these strategies also may avoid “urban colonization of countryside” (31). Authors assert that when well-grounded these tourism initiatives, “can be ecologically, socially, economically, and culturally sustainable” (2). Nominal critical assessment of this assertion is presented. Creative tourism is distinguished from cultural tourism and experience tourism with an emphasis, according to Duxbury, “placed on the creation process and capacity for the visitor to engage in the activity” (29). Scherf sees creative tourism responding to, “desires for authentic, human-scale immersion in local life, culture, and knowledge” (1). Smaller communities, Schref claims, are “especially well-suited to hosting tourists who seek connection with the local” (1). To fit the brand of creative tourism requires two sides of a coin. The first is","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43620138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-02DOI: 10.1080/10632921.2022.2080136
Jin Woo Lee, S. H. Lee
Abstract This article critically examines the way in which the legitimation of emerging artists occurs in the digitalized art market. Based on a conceptual specification of intermediaries’ practices in the legitimation process, we have conducted a case study of Saatchi Art, a pioneering digital platform for trading artworks. We perform a deductive analysis of introduction, interpretation, and selection of artists based on a variety of qualitative data. Our findings show that the legitimacy of selected artists is constructed mainly by Saatchi Art’s curatorial programs. The exclusive practice of granting legitimacy to selected artists by curators stems from symbolic capital- that has accumulated from their career in the conventional art market, thus, implying a close linkage between the offline and online art worlds. Therefore, the disintermediation that is initiated by the digital art platform gives rise to reintermediation due to the necessity of interpreting and endorsing the uncertain value of contemporary artworks and artists.
{"title":"The Legitimation of Young and Emerging Artists in Digital Platforms: The Case of Saatchi Art","authors":"Jin Woo Lee, S. H. Lee","doi":"10.1080/10632921.2022.2080136","DOIUrl":"https://doi.org/10.1080/10632921.2022.2080136","url":null,"abstract":"Abstract This article critically examines the way in which the legitimation of emerging artists occurs in the digitalized art market. Based on a conceptual specification of intermediaries’ practices in the legitimation process, we have conducted a case study of Saatchi Art, a pioneering digital platform for trading artworks. We perform a deductive analysis of introduction, interpretation, and selection of artists based on a variety of qualitative data. Our findings show that the legitimacy of selected artists is constructed mainly by Saatchi Art’s curatorial programs. The exclusive practice of granting legitimacy to selected artists by curators stems from symbolic capital- that has accumulated from their career in the conventional art market, thus, implying a close linkage between the offline and online art worlds. Therefore, the disintermediation that is initiated by the digital art platform gives rise to reintermediation due to the necessity of interpreting and endorsing the uncertain value of contemporary artworks and artists.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45592371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.1080/10632921.2022.2073305
Manfredi de Bernard
{"title":"The Metamorphosis of Cultural and Creative Organizations - Exploring Change from a Spatial Perspective","authors":"Manfredi de Bernard","doi":"10.1080/10632921.2022.2073305","DOIUrl":"https://doi.org/10.1080/10632921.2022.2073305","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48941134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-26DOI: 10.1080/10632921.2022.2079789
Wendi Hassan
As Järvinen points out, an organization's failure to identify their business model does not indicate that the organization does not have a business model, but rather that they have failed to articulate or capitalize on it (51), which can leave them vulnerable. Wendi Hassan I Cache Valley Center for the Arts, Logan, UT, USA i References 1 Järvinen, Tomas. Centralized funding and high regulation in public organizations lead to less responsive, more homogenous operations, while diverse but scarce funding and reduced regulation in private organizations lead to more flexible but leaner operations. [Extracted from the article]
正如Järvinen所指出的，一个组织未能确定其商业模式并不意味着该组织没有商业模式，而是他们未能阐明或利用商业模式（51），这可能会使他们变得脆弱。Wendi Hassan I Cache Valley艺术中心，Logan，UT，USA I参考文献1 Järvinen，Tomas。公共组织的集中资金和高度监管导致反应迟钝、业务更加同质化，而私营组织的多样化但稀缺的资金和减少的监管导致业务更加灵活但精简。[摘自文章]
{"title":"Strategic Cultural Center Management","authors":"Wendi Hassan","doi":"10.1080/10632921.2022.2079789","DOIUrl":"https://doi.org/10.1080/10632921.2022.2079789","url":null,"abstract":"As Järvinen points out, an organization's failure to identify their business model does not indicate that the organization does not have a business model, but rather that they have failed to articulate or capitalize on it (51), which can leave them vulnerable. Wendi Hassan I Cache Valley Center for the Arts, Logan, UT, USA i References 1 Järvinen, Tomas. Centralized funding and high regulation in public organizations lead to less responsive, more homogenous operations, while diverse but scarce funding and reduced regulation in private organizations lead to more flexible but leaner operations. [Extracted from the article]","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49310032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-02DOI: 10.1080/10632921.2022.2068714
Kyoo‐Man Ha
Abstract The present research aims to highlight the value of incorporating music into natural disaster recovery toward the ultimate goal of better addressing human losses, economic damages, emotional/psychological struggles, and communal/cultural impacts resulting from natural disasters. Qualitative content analysis is the main methodology applied. Music therapy approaches are compared with ethnographic/ethnomusicological approaches at the personal, national, and international levels. The key finding is that the field needs to supplement music therapy approaches with ethnographic/ethnomusicological approaches to aid the recovery of disaster victims, while embracing a multidisciplinary approach, natural disaster management, human connectivity through music, sustainability, education, and training and exercise. This research contributes toward a comprehensive evaluation of not only the benefits but also the shortcomings of the above two approaches.
{"title":"Integrating Music into Natural Disaster Recovery","authors":"Kyoo‐Man Ha","doi":"10.1080/10632921.2022.2068714","DOIUrl":"https://doi.org/10.1080/10632921.2022.2068714","url":null,"abstract":"Abstract The present research aims to highlight the value of incorporating music into natural disaster recovery toward the ultimate goal of better addressing human losses, economic damages, emotional/psychological struggles, and communal/cultural impacts resulting from natural disasters. Qualitative content analysis is the main methodology applied. Music therapy approaches are compared with ethnographic/ethnomusicological approaches at the personal, national, and international levels. The key finding is that the field needs to supplement music therapy approaches with ethnographic/ethnomusicological approaches to aid the recovery of disaster victims, while embracing a multidisciplinary approach, natural disaster management, human connectivity through music, sustainability, education, and training and exercise. This research contributes toward a comprehensive evaluation of not only the benefits but also the shortcomings of the above two approaches.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48482956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-05DOI: 10.1080/10632921.2022.2046223
Kevin V. Mulcahy
Anheier, H. K., R. A. List, O. Kononykhina and J. L. Cohen. 2017. Cultural Participation and Inclusive Societies. A Thematic Report Based on the Indicator Framework on Culture and Democracy. Strasbourg: Council of Europe Publishing. Bennett, T. 2001. Differing Diversities: Transversal Study on the Theme of Cultural Policy and Cultural Diversity. Strasbourg: Council of Europe Publishing. Matarasso, F., and C. Landry. 1999. Balancing Act: Twenty-One Strategic Dilemmas in Cultural Policy. Strasbourg: Council of Europe Publishing. UNESCO. 2012. Measuring Cultural Participation: 2009 UNESCO Framework for Cultural Statistics Handbook No. 2. Montreal: UNESCO Institute for Statistics. United Nations. 1948. “Universal Declaration of Human Rights.” Accessed November 15, 2021. https://www.un.org/en/about-us/universal-declaration-of-human-rights
{"title":"Canadian Cultural Policy in Transition","authors":"Kevin V. Mulcahy","doi":"10.1080/10632921.2022.2046223","DOIUrl":"https://doi.org/10.1080/10632921.2022.2046223","url":null,"abstract":"Anheier, H. K., R. A. List, O. Kononykhina and J. L. Cohen. 2017. Cultural Participation and Inclusive Societies. A Thematic Report Based on the Indicator Framework on Culture and Democracy. Strasbourg: Council of Europe Publishing. Bennett, T. 2001. Differing Diversities: Transversal Study on the Theme of Cultural Policy and Cultural Diversity. Strasbourg: Council of Europe Publishing. Matarasso, F., and C. Landry. 1999. Balancing Act: Twenty-One Strategic Dilemmas in Cultural Policy. Strasbourg: Council of Europe Publishing. UNESCO. 2012. Measuring Cultural Participation: 2009 UNESCO Framework for Cultural Statistics Handbook No. 2. Montreal: UNESCO Institute for Statistics. United Nations. 1948. “Universal Declaration of Human Rights.” Accessed November 15, 2021. https://www.un.org/en/about-us/universal-declaration-of-human-rights","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42582328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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