National Academy of Managerial Staff of Culture and Arts Herald最新文献

{"title":"Mykola Lysenko’s «Kupalo Case»: Concert and Choral Implementation of Folk Rite","authors":"Nataliia Synkevych","doi":"10.32461/2226-3209.1.2023.277681","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277681","url":null,"abstract":"The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance. Key words: composer, folklore, calendar ritual, Kupalo, choral texture, piano part.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123371737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"World Broadcasters’ Unions as the Institution of TV Industry Development and Support in XXI Century","authors":"Igor Pecheranskiy","doi":"10.32461/2226-3209.1.2023.277697","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277697","url":null,"abstract":"The purpose of the research is to analyse the missions, key directions, and principles of work of the main world broadcasters’ union as a significant institutional aspect of the TV industry development and audio-visual culture in the XXI century. Methodology of the research. In the article, firstly, a system approach is used to look at the broadcasters’ union as the integral element of the TV and audio-visual industry. Secondly, a principle of the historical neo-institutionalism is applied, in accordance to which the broadcasters’ unions are accepted as the historically formed structures and institutions that condition the processes of this branch development and support, and the institutional trajectory chosen by them determines the parameters of television discourse today. Scientific novelty of the research. For the first time at the scientific article level, the position and peculiarities of the broadcasters’ unions as the institutional development and support of the TV industry in the XXI century were considered. Conclusions. The significance of the role of the world broadcasters’ unions was emphasized, which in the XXI century remain one of the key subjects and players in the international media market. On the example of such institutions as the European Broadcasting Union, African Union of Broadcasting, Asia-Pacific Broadcasting Union, we have proven that the world broadcasters’ unions remain a powerful tool of influence on the international arena and a driver of the TV and audio-visual industries development at the modern stage. These unions provide normative and technical support of their members, exchange of technologies, programs and innovations, create conditions for learning and cooperation (through conferences, working groups, trainings), international frequency planning and coordination, promote the influence of the TV industry and audio-visual industry on the social-economic development of a region. \u0000Key words: audio-visual industry, TV industry, broadcasting, broadcasters’ unions, EBU, AUB, ABU.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123125553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Creative Narratives of Contemporary Ukrainian Composers as a Subject of Musicological Analysis","authors":"Viktor Stepurko","doi":"10.32461/2226-3209.1.2023.277683","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277683","url":null,"abstract":"The purpose of the article is to determine the creative narratives of contemporary Ukrainian composers from the point of view of musicological analysis taking into account structuralist and poststructuralist intentions in music as a postmodern attitude. The article also aims to investigate the existing compositional structures (at their various levels) in close interrelation of intellectual and hermeneutic reading of the composer's artistic intention with the physical parameters of the work. The research methodology is related to the analysis of the sphere of expression of human thinking and the communicative process, with the consideration of the narrative as a certain discursive structure formed on the basis of a person's own experience, presented by the analytical mechanisms of musicology, in particular, systemic and comparative approaches that help determine the specificity of certain compositional structures in music in comparison with others, to trace the change of approaches of different composers to systems of symbolism in musical art, communication with the listener or appeal to closeness at the level of inner feelings and mystical suggestions. The scientific novelty consists in revealing the specifics of forming narratives in music as a process that combines an appeal to the social component or the inner feelings of the composer, his/her isolation from society, a negative and ironic attitude towards modernity, the search for virtual mystical «worlds» as a sign-sound space. Conclusions. The rigidity of authoritarian thinking in the field of culture leads to the appearance among composers and musicians of supporters of the idea of «art for art's sake», fascination with avant-garde technology, and orthodox maxims of lovers of «pure» classics. It is obvious that the new way of thinking about musical art should consist in the restoration of sincere, true creativity and the understanding of beauty as the basis of art, what it should serve, in particular, the musicological analysis of works from the standpoint of narrative technologies as a system of complex interdisciplinary research. \u0000Key words: musicological analysis, poststructuralist intentions, mystical suggestions, social component, narrative technologies.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124634853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Features of Actor’s Kinesthetic Perception in a Role","authors":"Mykhailo Barnych","doi":"10.32461/2226-3209.1.2023.277698","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277698","url":null,"abstract":"The purpose of the article is to clarify the place, meaning, and functioning mechanism of kinesthetic perception in the art of a theatre and film actor. Research methodology. Analytical and logical methods have been used to understand the peculiarities of the actor's kinesthetic perception in the role, a comparative analysis of the actor’s play with active kinesthetic perception and an actor with dominant auditory and visual perception has been used. Scientific novelty. For the first time, the phenomenon of kinesthetic perception in the actor's art was investigated. The mechanism and method of involving this perception in the acting technique of reincarnation was revealed. An analysis of the features of the creative state of the actor in the role under the influence of kinesthetic perception was conducted. Conclusions. The method of comparative analysis of the actor's play proves the need to involve the phenomenon of kinesthetic perception in the actor's skill. We have proved why the activation of the actor's kinesthetic perception in the role is a necessary condition for the creation of an artistic act. The mechanism of shifting the actor's attention from external visual and auditory information to the movements of their own body has been revealed. It was determined that as a result of such a shift of attention the actor feels the movements of their own body and their image in the viewer’s eyes. The method of setting up and activating kinesthetic perception in acting is motivated and explained. \u0000Key words: kinesthetic perception, audiovisual perception, body movements, facial movements, speech behaviour, kinesthetic actor, action, attention, viewer.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125379728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Decoding Biblical Ritual in Cultural Actions","authors":"Galyna Volkova","doi":"10.32461/2226-3209.1.2023.277632","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277632","url":null,"abstract":"The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritual-biblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformation-dematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like \"development\" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, \"fertilising\" them with the content and density of the ideological and figurative expression. \u0000Key words: biblical rituals, recognition, compensatory, expressive means of literature and fine arts, works of art.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116844647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Museum Collection as a Source of Expert Research","authors":"Svitlana Shman","doi":"10.32461/2226-3209.1.2023.277657","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277657","url":null,"abstract":"The purpose of the article is to highlight the issues of museum collections as a database of expertise, which today is considered a separate direction of scientific and applied research. The affinity between the expertise and attribution of cultural values have been specified taking into account the tasks and methods they use during scientific research work. Research methods. To achieve the research goal, analytical, historical, epistemological, and axiological method, the method of theoretical generalisation have been used in order to specify the problem of using museum collections as a database for the examination of cultural values. Scientific novelty of the obtained results lies in the theoretical understanding of the possibility to use museum collections as a database for expert examinations in order to specify and deepen the knowledge about cultural values. This approach is an attempt to go beyond traditional art studies and make emphasis on the objective data, draw more accurate conclusions. Moreover, the use of museum collections may encourage a researcher to be more attentive to details and to deepen their knowledge. Conclusions. In order to understand the significance of the database of expert research in the system of protection and popularisation of cultural values, the existing basic concepts have been systematised. The commonality and interdependence have been established between the expertise and attribution, which is a well-founded opinion of a specialist with many years of experience and unique knowledge. The supremacy of museums in the field of expertise has a number of advantages, since each item, from the point of view of a museologist, has its own, strictly defined place in the system of cultural values. \u0000Key words: museum, museum collection, museum item, sources, cultural values, art expert examination, state examination of cultural values.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123089991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aesthetic and Philosophical Basis of Contemporary Dance","authors":"Nataliia Fedotova","doi":"10.32461/2226-3209.1.2023.277648","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277648","url":null,"abstract":"The purpose of the article is to reveal the aesthetic and philosophical foundations of contemporary dance. Research methodology is based on the analysis of scientific sources related to the topic, the application of cultural optics in the clarification of the aesthetic and philosophical foundations of contemporary dance. Scientific novelty. The main approaches of the aesthetic-philosophical foundations of contemporary dance are revealed, and emphasis is placed on consideration of physicality as a specific feature of contemporary dance. Conclusions. Contemporary dance can be qualified as an intellectual choreographic direction, a kind of tool for self-awareness and self-reflection of modern culture. Physicality is a specific feature of contemporary dance, which is due to the desire to establish connections with historical and cultural transformations of the attitude to the human body. The formation of the aesthetic and philosophical foundations of contemporary dance is based on the ideas and approaches of the founders of modern dance. A. Duncan, D. Humphrey, R. Laban, M. Cunningham, J. Skinner, T. Brown, S. Paxton, D. Zambrano, and others are among the choreographers who started new philosophical currents. Philosophical understanding of dance by choreographers consisted in advocating the ideas of a holistic approach in determining the conditions for the fullness of human existence and in effective experiments of fusion of Zen Buddhism and dance. The priority of universal human values and the importance of awareness of one's bodily existence were proclaimed, and the life-affirming meaning of aesthetic culture focused on the need for harmonious development of the individual. Contemporary dance techniques are aimed to develop somatic experience and human physicality, contributing to the formation of a body-oriented philosophy of dance. \u0000Key words: contemporary dance, modern dance, modern culture, culturology, philosophy of dance, choreography.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124370529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Human-Dimensionality of Metamodernism Worldview Paradigm: Sociocultural Transformations and Practices","authors":"Оlena Kunderevych","doi":"10.32461/2226-3209.1.2023.277633","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277633","url":null,"abstract":"The purpose of the article is to define the human-dimensionality as the worldview basis of the cultural paradigm of metamodernism, which manifests itself in modern cultural practices and transformations. The research methodology is focused on a systematic approach and a dialectical method, which provides the opportunity to determine the features of the worldview paradigm in the context of sociocultural transformations and cultural practices. Scientific novelty. For the first time, a specific worldview feature of the culture non-classical paradigm is revealed, which brings to life existential phenomena in the «age of uncertainty» (according to Z. Bauman) and captures in the metaphors of «new sincerity» and «new humanism» the powerful potential of meaning creation and human-dimensionality. Conclusions. Post-classical practices have a vivid manifestation in metamodern culture. It is characterised by a special experience of the unity of the part and the whole. The interaction of subjects in the world of new perceptions is associated with the desire for harmony, openness, and integrity. Wholeness, which is suddenly revealed to a person in its fullness, is the most important state experienced by the mind, soul, and body. Metamodernists tend to emphasise both the inner development of the individual and the political and social aspects. Considering the prospects of political tools, they still focus on the intersection of the depth of the person’s inner needs and the external complexity of real life. The worldview dominant of the «metamodern age» can be defined as «human-dimensionality» as a fundamental desire for integrity, free dialogue, a balance between the sublime and the pragmatic, between active love and care, and understanding of multiple realities. The human-dimensionality appears not only as a worldview reference point, but also as an effective method of «I»-«Other» interaction, which prompts various cultural practices and socio-cultural transformations of modern society. \u0000Key words: worldview paradigm, metamodernism, human-dimensionality, sociocultural transformations, cultural practices. \u0000 ","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132450080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dance Images in «Rondo-Khaitarma» Violin and Piano Work by Nazim Amedov","authors":"U. Bekirov","doi":"10.32461/2226-3209.1.2023.277687","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277687","url":null,"abstract":"The purpose of the article is a musicological analysis of the dance images in «Rondo-Haitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Research methodology. Analytical, historical methods, the method of comparative and musicological analysis have been used. Scientific novelty of the research. For the first time, a musicological analysis was conducted of the dance images in «Rondo-Khaitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Conclusions. Nazim Amedov's «Rondo-Khaitarma» work for violin and piano highlights the national features of the artistic thinking of the Crimean Tatar people. Using a variety of musical and expressive means, CHANGING different shades: from persistently energetic, expressive to soft, lyrical, with the affirmation of a bright affirmative character the composer multifacetedly presents the main national dance image in its overall development. The dominant technique of development is «mirroring». It extends to the intonation-rhythmic organisation of the theme, has a form-creating function. These techniques are inherent in the author's handwriting and composer's thinking of Nazim Amedov. \u0000Key words: dance images, Crimean Tatar music, folklore, «mirroring», thematism, metro-rhythmic organisation, Crimean Tatar composer Nazim Amedov.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"20 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132119618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Piano Compositions by A. Shtoharenko, Platon and Heorhii Maiborod, A. Kos-Anatolskyi in Expression of Traditionalism Stylistic Features","authors":"Liudmyla Ivanova","doi":"10.32461/2226-3209.1.2023.277675","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277675","url":null,"abstract":"The purpose of the article is to reveal in the works of A. Shtoharenko, brothers Platon and Heorhii Maiboroda, A. Kos-Anatolskyi, who are bright representatives of the traditionalist worldview, typical for them general stylistic ways of embodiment of the demands of the present day, using certain achievements of modernism, but not going beyond the traditionalist artistic position. The methodological basis of the work is based on the principles of the intonation approach, that is, based on the understanding of the genetic unity of speech and music, which is characterised by an organic complex interdisciplinary coverage of expressiveness of words, music, and imagery. This vision of musical expression coincides with modern art history research methods, among which we highlight historical-musicological, genre-stylistic, interpretive-hermeneutic, and semiotic-aesthetic. O. Markova’s metaphysics of musical history has become the methodological basis of the research [7]. The scientific novelty of the obtained results lies in the expansion of ideas about modern musical dimension of the stylistic heritage of the last century as the embodiment of the aprogressive paradigmatic principle of expression of traditionalism of the 20th century, with the awareness of the epochal «vibration» of the identification of the specified stylistic quality depending on the specifics of the nationwide manifestation of the corresponding thought stereotypes. Conclusions. The named masters consciously gravitated towards the academic stability of the expressive principles of music, but in no way bypassing the echo of the «call of time» and investing in their compositions more often impressionistic-fauvist, pro-neoclassical, and primitivist stylistic indicators. The salon slant of the applied piano is something that is permanently established in the palette of presented images-meanings, in which not so much folklorism, but precisely the lyrical excess of exposition is combined with sonata-like structures, «extinguishing» dramatic and theatrical expressiveness. \u0000Key words: traditionalism, style in music, musical genre, piano playing style, pianism.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131344087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}