Pub Date : 2024-05-22DOI: 10.1177/13678779241253624
Alessandro Gandini, Gaia Casagrande, Giulia Giorgi, Gianmarco Peterlongo, Marta Tonetta
In relation to work, the term ‘platformisation’ has gained popularity to indicate the various ways in which a digital platform gets to mediate, organise, intervene in, or otherwise facilitate some work activity. Yet, the intervention of digital platforms into work today increasingly involves activities that are not immediately related to the digital sphere, where different kinds of platforms have become part and parcel of the cultures and practices of work. There is a necessity, in other words, to develop a clearer framework to identify what it means when work activity gets to be ‘platform- ised’, the conditions under which this takes place, and what the main implications are deriving from this process. Using the case of ‘neo-craft’ work in the European Union, we propose and illustrate a theoretical conceptualisation of platform- ised work, critically discussing the distinctiveness of this process and highlighting its key features.
{"title":"‘Platform-ised’ work? The case of neo-craft work","authors":"Alessandro Gandini, Gaia Casagrande, Giulia Giorgi, Gianmarco Peterlongo, Marta Tonetta","doi":"10.1177/13678779241253624","DOIUrl":"https://doi.org/10.1177/13678779241253624","url":null,"abstract":"In relation to work, the term ‘platformisation’ has gained popularity to indicate the various ways in which a digital platform gets to mediate, organise, intervene in, or otherwise facilitate some work activity. Yet, the intervention of digital platforms into work today increasingly involves activities that are not immediately related to the digital sphere, where different kinds of platforms have become part and parcel of the cultures and practices of work. There is a necessity, in other words, to develop a clearer framework to identify what it means when work activity gets to be ‘platform- ised’, the conditions under which this takes place, and what the main implications are deriving from this process. Using the case of ‘neo-craft’ work in the European Union, we propose and illustrate a theoretical conceptualisation of platform- ised work, critically discussing the distinctiveness of this process and highlighting its key features.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141109065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-21DOI: 10.1177/13678779241253294
Roslina Ismail, Mengye Liu
Punk culture, with its hallmark rebellious aesthetic, often stands in stark contrast to the modesty prescribed by Islamic traditions, particularly regarding women's attire. This article explores the sartorial practices of female Muslim punks in Malaysia, investigating the complex interplay of gender, religion, and subcultural identities within the Malaysian context. Employing an ethnographic approach, we examine how these women use dress for self-expression, empowerment, and resistance, challenging the historic oversights in punk discourse. Introducing the conceptual framework of ‘the localization of subculture’, our research provides a theoretical model for understanding how global subcultures, like punk, adapt to local contexts, leading to unique cultural expressions. Examining individual approaches to dress practices, our findings demonstrate the ability of the Malaysian punk community to deconstruct conventional norms and actively construct meanings of its own. This article invites a re-evaluation of subculture studies and advocates rethinking what we know about subcultures by considering local influences.
{"title":"Sartorial subversion in subculture of Malaysian female Muslim punks","authors":"Roslina Ismail, Mengye Liu","doi":"10.1177/13678779241253294","DOIUrl":"https://doi.org/10.1177/13678779241253294","url":null,"abstract":"Punk culture, with its hallmark rebellious aesthetic, often stands in stark contrast to the modesty prescribed by Islamic traditions, particularly regarding women's attire. This article explores the sartorial practices of female Muslim punks in Malaysia, investigating the complex interplay of gender, religion, and subcultural identities within the Malaysian context. Employing an ethnographic approach, we examine how these women use dress for self-expression, empowerment, and resistance, challenging the historic oversights in punk discourse. Introducing the conceptual framework of ‘the localization of subculture’, our research provides a theoretical model for understanding how global subcultures, like punk, adapt to local contexts, leading to unique cultural expressions. Examining individual approaches to dress practices, our findings demonstrate the ability of the Malaysian punk community to deconstruct conventional norms and actively construct meanings of its own. This article invites a re-evaluation of subculture studies and advocates rethinking what we know about subcultures by considering local influences.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141116881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-20DOI: 10.1177/13678779241251863
David C. Oh
The derogatory label “Koreaboo,” used to stigmatize Korean popular culture fans, suggests Korean media's movements are treated as a contaminant rather than a welcome presence. In this research project, I conducted focus group research and analyses of Reddit threads to understand the ways women fans of color in this study interpret and navigate taste hierarchies that mock women's interests in celebrities and texts from a racialized Asian nation. Korean popular culture fans of color reject “Koreaboo” for themselves, but they project the label onto “bad” White fans, who are perceived as having inappropriate fannish interests that deviate from popularly held standards of intercultural and interracial fan interest. The self-disciplining within fandom distances itself from the Western patriarchal gaze by re-directing its focus. Even when fans of color seek Korean media to escape White hegemony and heteronormative patriarchy, they internalize and react to its gaze in their fan practice.
{"title":"The patriarchal Western gaze and the discursive policing of fandom: “Koreaboo” as stigma","authors":"David C. Oh","doi":"10.1177/13678779241251863","DOIUrl":"https://doi.org/10.1177/13678779241251863","url":null,"abstract":"The derogatory label “Koreaboo,” used to stigmatize Korean popular culture fans, suggests Korean media's movements are treated as a contaminant rather than a welcome presence. In this research project, I conducted focus group research and analyses of Reddit threads to understand the ways women fans of color in this study interpret and navigate taste hierarchies that mock women's interests in celebrities and texts from a racialized Asian nation. Korean popular culture fans of color reject “Koreaboo” for themselves, but they project the label onto “bad” White fans, who are perceived as having inappropriate fannish interests that deviate from popularly held standards of intercultural and interracial fan interest. The self-disciplining within fandom distances itself from the Western patriarchal gaze by re-directing its focus. Even when fans of color seek Korean media to escape White hegemony and heteronormative patriarchy, they internalize and react to its gaze in their fan practice.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141123171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-15DOI: 10.1177/13678779241247286
Anna Cristina Pertierra, Ahtziri E. Molina, Bianca Garduño
In recent years, we have experienced a renewed public awareness of the importance of creative and cultural work for personal and national wellbeing. Contributors to this special issue turn their attention to the diverse experiences of creative and cultural workers, to understand how creative work has been disrupted, abandoned, transformed or reinvented across distinct cultural and economic contexts. In various circumstances reshaped by the pandemic, creative and cultural workers soon realized that paid work as they knew it would no longer be possible, and they had to quickly recalibrate their breadwinning strategies, in turn affecting their understandings of labour and value. This special issue considers the experiences of workers across Europe, Latin America, Africa and Australia, adding still-needed geographic diversity as part of ongoing efforts in research on creative and cultural work in pandemic times.
{"title":"The precarities of cultural and creative work through pandemic times","authors":"Anna Cristina Pertierra, Ahtziri E. Molina, Bianca Garduño","doi":"10.1177/13678779241247286","DOIUrl":"https://doi.org/10.1177/13678779241247286","url":null,"abstract":"In recent years, we have experienced a renewed public awareness of the importance of creative and cultural work for personal and national wellbeing. Contributors to this special issue turn their attention to the diverse experiences of creative and cultural workers, to understand how creative work has been disrupted, abandoned, transformed or reinvented across distinct cultural and economic contexts. In various circumstances reshaped by the pandemic, creative and cultural workers soon realized that paid work as they knew it would no longer be possible, and they had to quickly recalibrate their breadwinning strategies, in turn affecting their understandings of labour and value. This special issue considers the experiences of workers across Europe, Latin America, Africa and Australia, adding still-needed geographic diversity as part of ongoing efforts in research on creative and cultural work in pandemic times.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140972078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-15DOI: 10.1177/13678779241252997
‘Gbenga Adeoba, James Yékú
The Instagram content of Nigerian digital creator Olalekan Olaleye illustrates how cultural netizenship stresses the centrality of platformization to the articulation of new genres of African popular representations. This article develops the argument by examining how platform aesthetics shape the trajectories and performative acts of cultural producers, something Olaleye's Nigerian context also modulates. By lingering on the digital and aesthetic labors of the cultural netizen, the article pinpoints the interactions between creative adaptations and social media texts. Olaleye's Instagram content demonstrates the way digital platforms have become integral to the production and circulation of popular forms and genres and the artistic responses everyday digital subjects make to institutions of the state.
{"title":"Cultural netizenship as platformization of popular culture in Nigeria","authors":"‘Gbenga Adeoba, James Yékú","doi":"10.1177/13678779241252997","DOIUrl":"https://doi.org/10.1177/13678779241252997","url":null,"abstract":"The Instagram content of Nigerian digital creator Olalekan Olaleye illustrates how cultural netizenship stresses the centrality of platformization to the articulation of new genres of African popular representations. This article develops the argument by examining how platform aesthetics shape the trajectories and performative acts of cultural producers, something Olaleye's Nigerian context also modulates. By lingering on the digital and aesthetic labors of the cultural netizen, the article pinpoints the interactions between creative adaptations and social media texts. Olaleye's Instagram content demonstrates the way digital platforms have become integral to the production and circulation of popular forms and genres and the artistic responses everyday digital subjects make to institutions of the state.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140973554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-07DOI: 10.1177/13678779241252664
Maja Jerrentrup
Artificial intelligence (AI) can create works deceptively resembling paintings, graphics, or photographs. This article examines how to treat these works, and under what circumstances, if any, they should be understood as art. The focus is placed on the work itself in the l’art-pour-l’art-tradition, on the reception, on the skills involved in the creation, and on the authors themselves. Besides looking at literary sources touching on the aforementioned aspects, the evaluation considers the perspective of people with an affinity for art through in-depth interviews. Most interviewees revised their initial reaction after learning that the works were AI generated, being more skeptical about their status as art. It then becomes obvious that the role of the artist is undergoing change. The confrontation with the artificial brings the human creator into the foreground and makes them inseparable from the work. The new technical-cultural situation leads to a new, more contextual evaluation of art.
{"title":"Imagine art: The status of works generated by artificial intelligence","authors":"Maja Jerrentrup","doi":"10.1177/13678779241252664","DOIUrl":"https://doi.org/10.1177/13678779241252664","url":null,"abstract":"Artificial intelligence (AI) can create works deceptively resembling paintings, graphics, or photographs. This article examines how to treat these works, and under what circumstances, if any, they should be understood as art. The focus is placed on the work itself in the l’art-pour-l’art-tradition, on the reception, on the skills involved in the creation, and on the authors themselves. Besides looking at literary sources touching on the aforementioned aspects, the evaluation considers the perspective of people with an affinity for art through in-depth interviews. Most interviewees revised their initial reaction after learning that the works were AI generated, being more skeptical about their status as art. It then becomes obvious that the role of the artist is undergoing change. The confrontation with the artificial brings the human creator into the foreground and makes them inseparable from the work. The new technical-cultural situation leads to a new, more contextual evaluation of art.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141004807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-05DOI: 10.1177/13678779241248843
Ylva Ågren, Pål Aarsand
This article focuses on young people as producers of cultural heritage and, in particular, on their drawing practices. Based on ten in-depth interviews with youth (aged 11–20) living in Sweden, we explore young people's digital drawing practices and what these mean to their everyday lives. This is relevant to the production of descriptive metadata when young people's pictures become a part of cultural heritage. Our analysis illustrates how young people engage with pictures that circulate across time, space, relationships and mediums, challenging the idea of pictures and meaning-making as fixed and final. This analysis offers valuable insights into cultural heritage by approaching it as a process and extending our ideas of how tangible and intangible heritage may interact. Furthermore, this article contributes to our understanding of young people's digital drawing practices from their own perspectives.
{"title":"Young people's digital drawing practices as cultural heritage","authors":"Ylva Ågren, Pål Aarsand","doi":"10.1177/13678779241248843","DOIUrl":"https://doi.org/10.1177/13678779241248843","url":null,"abstract":"This article focuses on young people as producers of cultural heritage and, in particular, on their drawing practices. Based on ten in-depth interviews with youth (aged 11–20) living in Sweden, we explore young people's digital drawing practices and what these mean to their everyday lives. This is relevant to the production of descriptive metadata when young people's pictures become a part of cultural heritage. Our analysis illustrates how young people engage with pictures that circulate across time, space, relationships and mediums, challenging the idea of pictures and meaning-making as fixed and final. This analysis offers valuable insights into cultural heritage by approaching it as a process and extending our ideas of how tangible and intangible heritage may interact. Furthermore, this article contributes to our understanding of young people's digital drawing practices from their own perspectives.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141013033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1177/13678779241245728
Bianca Garduño, Ahtziri Molina, A. Pertierra
The Mexican state has been an active agent in the construction of cultural institutions and infrastructure for more than a century. But the symbolic and political currency of the cultural sector is not reflected in stable conditions for creative workers who exist precariously. In this article, we explore a manifestation of the simultaneous state of prominence and precarity in procurement regimes implemented by federal government agencies before the Covid-19 crisis, and support programmes from the federal and local government of Mexico City to employ creative workers during the early phases of the pandemic. We examine the content and arguments of these programmes to highlight how cultural policies and institutional structures developed by the government are a continuation, and even a deepening, of the already precarious work opportunities in the cultural sector. Through policy analysis and qualitative interviews, we contrast the officially stated goals of government institutions with the lived experiences of creative workers.
{"title":"Public cultural institutions in Mexico and precarisation of creative labour","authors":"Bianca Garduño, Ahtziri Molina, A. Pertierra","doi":"10.1177/13678779241245728","DOIUrl":"https://doi.org/10.1177/13678779241245728","url":null,"abstract":"The Mexican state has been an active agent in the construction of cultural institutions and infrastructure for more than a century. But the symbolic and political currency of the cultural sector is not reflected in stable conditions for creative workers who exist precariously. In this article, we explore a manifestation of the simultaneous state of prominence and precarity in procurement regimes implemented by federal government agencies before the Covid-19 crisis, and support programmes from the federal and local government of Mexico City to employ creative workers during the early phases of the pandemic. We examine the content and arguments of these programmes to highlight how cultural policies and institutional structures developed by the government are a continuation, and even a deepening, of the already precarious work opportunities in the cultural sector. Through policy analysis and qualitative interviews, we contrast the officially stated goals of government institutions with the lived experiences of creative workers.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140672851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1177/13678779241244410
Lorena Caminhas
The article addresses labour precarity in platform-based cultural production from the perspective of Brazilian camming work, examining it through cammers’ perceptions and experiences. Precarity has been a framework for assessing work conditions in platformised cultural industries. This framework stems from a normative standpoint of standard work and employment, which neither represents labour markets nor marginalised cultural labour in the majority world. This article tackles precarity from marginalised Global South cultural producers’ perspectives. Drawing on 15 in-depth interviews with cisgender female cammers, I show that local work and employment realities, and the positionality of platforms within them, are critical to cammers’ sense-making of labour precarity. For the cammers, the parameters for evaluating quality and precarity are unstable and adjusted according to their position within and outside platform economies. Conclusions suggest that precarity is situated and derives its meaning from a complex articulation of workers’ experiences and positions across various economies.
{"title":"Precarity revisited: Exploring camming work in Brazil and experiences of precarity in platform-based (erotic) content production","authors":"Lorena Caminhas","doi":"10.1177/13678779241244410","DOIUrl":"https://doi.org/10.1177/13678779241244410","url":null,"abstract":"The article addresses labour precarity in platform-based cultural production from the perspective of Brazilian camming work, examining it through cammers’ perceptions and experiences. Precarity has been a framework for assessing work conditions in platformised cultural industries. This framework stems from a normative standpoint of standard work and employment, which neither represents labour markets nor marginalised cultural labour in the majority world. This article tackles precarity from marginalised Global South cultural producers’ perspectives. Drawing on 15 in-depth interviews with cisgender female cammers, I show that local work and employment realities, and the positionality of platforms within them, are critical to cammers’ sense-making of labour precarity. For the cammers, the parameters for evaluating quality and precarity are unstable and adjusted according to their position within and outside platform economies. Conclusions suggest that precarity is situated and derives its meaning from a complex articulation of workers’ experiences and positions across various economies.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140673038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-18DOI: 10.1177/13678779241244401
Angela Longo
This article delves into the collaborative efforts that unfolded in the creation of the 2012 exhibition ‘TOKUSATSU: Special Effects Museum – Craftsmanship of Showa and Heisei Eras Seen through Miniatures’, which in turn paved the way for the establishment of institutional facilities for popular culture. Specifically, this article explores the collaborative dynamics of two recently established facilities: the Anime Tokusatsu Archive Center in Tokyo (2017) and the Sukagawa Tokusatsu Archive Center (2020) in Sukagawa, Fukushima. Sukagawa, Tsuburaya Eiji's hometown, has played a pivotal role in mobilising artists and communities to engage with these cultural spaces. Artist groups dedicated to tokusatsu and anime began to consider preservation and exhibition strategies to convey these art forms to other generations. This article analyses the building process, and the social cooperation in building these facilities, connecting them to broader popular culture movements in Japan.
{"title":"Engaging the present, embracing the past: Pop culture museums and cultural continuity in Fukushima","authors":"Angela Longo","doi":"10.1177/13678779241244401","DOIUrl":"https://doi.org/10.1177/13678779241244401","url":null,"abstract":"This article delves into the collaborative efforts that unfolded in the creation of the 2012 exhibition ‘TOKUSATSU: Special Effects Museum – Craftsmanship of Showa and Heisei Eras Seen through Miniatures’, which in turn paved the way for the establishment of institutional facilities for popular culture. Specifically, this article explores the collaborative dynamics of two recently established facilities: the Anime Tokusatsu Archive Center in Tokyo (2017) and the Sukagawa Tokusatsu Archive Center (2020) in Sukagawa, Fukushima. Sukagawa, Tsuburaya Eiji's hometown, has played a pivotal role in mobilising artists and communities to engage with these cultural spaces. Artist groups dedicated to tokusatsu and anime began to consider preservation and exhibition strategies to convey these art forms to other generations. This article analyses the building process, and the social cooperation in building these facilities, connecting them to broader popular culture movements in Japan.","PeriodicalId":47307,"journal":{"name":"International Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":2.1,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140690170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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