{"title":"Acknowledgments","authors":"","doi":"10.2307/j.ctvs32r00.3","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.3","url":null,"abstract":"","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130740994","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}
This essay examines the roles the character Easter in “Moon Lake” plays in the context of early-twentieth-century debates about the roots of poverty and society’s level of responsibility to poor children. By placing the focus of the story not on Easter but on the genteel Morgana girls’ shifting attitudes about her, Welty illustrates the ways child welfare policy was shaped by conflicting attitudes, whereby sympathy for innocent children coexisted with scorn for their parents. Assuming that Easter lives outside the boundaries that mark their own places in Morgana’s gendered, class-bound, and racially-segregated society, Jinny Love Stark and Nina Carmichael imagine the “orphan” to embody a womanhood untethered by race or rank, one, perhaps, more representative of American democracy. Ultimately, though, the girls come to see that Easter’s status as an orphan makes her more marked by and vulnerable to the violence and oppression that shape the South’s racial patriarchy.
{"title":"Moon Lake’s Orphans and “The Other Way to Live”","authors":"J. Griffith","doi":"10.2307/j.ctvs32r00.8","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.8","url":null,"abstract":"This essay examines the roles the character Easter in “Moon Lake” plays in the context of early-twentieth-century debates about the roots of poverty and society’s level of responsibility to poor children. By placing the focus of the story not on Easter but on the genteel Morgana girls’ shifting attitudes about her, Welty illustrates the ways child welfare policy was shaped by conflicting attitudes, whereby sympathy for innocent children coexisted with scorn for their parents. Assuming that Easter lives outside the boundaries that mark their own places in Morgana’s gendered, class-bound, and racially-segregated society, Jinny Love Stark and Nina Carmichael imagine the “orphan” to embody a womanhood untethered by race or rank, one, perhaps, more representative of American democracy. Ultimately, though, the girls come to see that Easter’s status as an orphan makes her more marked by and vulnerable to the violence and oppression that shape the South’s racial patriarchy.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121100091","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}
This essay argues that Eudora Welty’s 1966 civil rights story, “The Demonstrators,” casts a spotlight on the “crime” of systemic racism in the U.S. South through the popular crime genre of American noir fiction and film. Although a mid-twentieth-century category mainly recognized for its depictions of dark cities and shadowy “mean streets,” noir’s stylized world collides with the Closed Society in Welty’s late story and throws into stark relief the subtler effects of white supremacy. Turning noir’s key traits on their head (e.g., black-and-white chiaroscuro lighting, the femme fatale, and the tropes of hard-boiled detective fiction), Welty throughout “The Demonstrators” brilliantly illuminates the subtle tactics of, and clues left behind by, criminalized acts of whiteness. In so doing, Welty’s masterful crime story pays homage to classic noir artists such as Dashiell Hammett, Chester Himes, and Alfred Hitchcock.
{"title":"Welty’s Moonlighting Detective","authors":"Jacob Agner","doi":"10.2307/j.ctvs32r00.14","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.14","url":null,"abstract":"This essay argues that Eudora Welty’s 1966 civil rights story, “The Demonstrators,” casts a spotlight on the “crime” of systemic racism in the U.S. South through the popular crime genre of American noir fiction and film. Although a mid-twentieth-century category mainly recognized for its depictions of dark cities and shadowy “mean streets,” noir’s stylized world collides with the Closed Society in Welty’s late story and throws into stark relief the subtler effects of white supremacy. Turning noir’s key traits on their head (e.g., black-and-white chiaroscuro lighting, the femme fatale, and the tropes of hard-boiled detective fiction), Welty throughout “The Demonstrators” brilliantly illuminates the subtle tactics of, and clues left behind by, criminalized acts of whiteness. In so doing, Welty’s masterful crime story pays homage to classic noir artists such as Dashiell Hammett, Chester Himes, and Alfred Hitchcock.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115991750","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}
Focusing first on Welty’s “A Worn Path” then Morrison’s Home, this chapter discusses the authors’ treatment of landscape, which reverberates with lingering touches of racialized violence and trauma, and identifies how black characters read and decode its various evocations. The characters’ ability to recognize trees as signposts of the lynched black male body demonstrates a political consciousness necessary for their survival. Trees in these works figure as totems of death and destruction and as potent life-forces, pointing expectantly toward survival and regeneration. Shifting from figurative burial to affirmative acts of intrusion and trespass, these texts’ protagonists defy the forces of immobilization and the stereotypical images of southern black women depicted in earlier pastoral formations. Ultimately, this chapter argues that Welty and Morrison reorient the apocalyptic visioning of the antipastoral by bending the arc toward resilience and resurrection, permitting their terrain to appear mutably as bleak and beautiful, frightening and futurist.
{"title":"The Lynched Earth","authors":"Donnie McMahand, K. Murphy","doi":"10.2307/j.ctvs32r00.6","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.6","url":null,"abstract":"Focusing first on Welty’s “A Worn Path” then Morrison’s Home, this chapter discusses the authors’ treatment of landscape, which reverberates with lingering touches of racialized violence and trauma, and identifies how black characters read and decode its various evocations. The characters’ ability to recognize trees as signposts of the lynched black male body demonstrates a political consciousness necessary for their survival. Trees in these works figure as totems of death and destruction and as potent life-forces, pointing expectantly toward survival and regeneration. Shifting from figurative burial to affirmative acts of intrusion and trespass, these texts’ protagonists defy the forces of immobilization and the stereotypical images of southern black women depicted in earlier pastoral formations. Ultimately, this chapter argues that Welty and Morrison reorient the apocalyptic visioning of the antipastoral by bending the arc toward resilience and resurrection, permitting their terrain to appear mutably as bleak and beautiful, frightening and futurist.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123539903","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}
We must at least consider the possibility that Eudora Welty’s African American characters are not just secret agents, oblique, liminal, spiritual, ironic, or even mysterious, as we might once have believed. While elements of each of these choices exist in Welty’s textual universe, we also have clear evidence of much less mediated African American rage, power, and artistic dominance. With howls (Exum, Powerhouse), pumped fists and knives (Man Son, Root M’Hook and others), icepicks (Ruby and Dove) piercing screams (Delilah), and banging pots (Luella), African American personae express an unsettling lexicon of narrative punctures that question conventional notions of plot and character development.
我们至少必须考虑到这样一种可能性，即尤多拉·韦尔蒂笔下的非裔美国人角色不只是秘密特工，不像我们曾经认为的那样，是隐晦的、模糊的、精神的、讽刺的，甚至是神秘的。虽然这些选择的元素都存在于韦尔蒂的文本世界中，但我们也有明确的证据表明，非裔美国人的愤怒、权力和艺术主导地位很少被调解。通过嚎叫(Exum, Powerhouse)，挥舞着拳头和刀子(Man Son, Root M 'Hook和其他人)，冰锥(Ruby和Dove)，刺耳的尖叫声(Delilah)和敲打锅(Luella)，非裔美国人的角色表达了一种令人不安的叙事刺痛词汇，质疑了传统的情节和角色发展观念。
{"title":"For Crying Out Loud, or “The Truth Is Something Worse, I Ain’t Said What Yet”","authors":"R. Mark","doi":"10.2307/j.ctvs32r00.10","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.10","url":null,"abstract":"We must at least consider the possibility that Eudora Welty’s African American characters are not just secret agents, oblique, liminal, spiritual, ironic, or even mysterious, as we might once have believed. While elements of each of these choices exist in Welty’s textual universe, we also have clear evidence of much less mediated African American rage, power, and artistic dominance. With howls (Exum, Powerhouse), pumped fists and knives (Man Son, Root M’Hook and others), icepicks (Ruby and Dove) piercing screams (Delilah), and banging pots (Luella), African American personae express an unsettling lexicon of narrative punctures that question conventional notions of plot and character development.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131757275","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}
This chapter compares Welty’s “Where Is the Voice Coming From?” with Bob Dylan’s “Only a Pawn in Their Game,” exploring the relationship between class, racist violence, and regional identity through examining the common assumptions both artists shared about Medgar Evers’ murderer and his motivations. The essay argues that class anxiety manifests itself both in acts of racist violence like Beckwith’s and in artistic conceptualizations of such violence as the exclusive domain of the white Southern underclass. The chapter also analyzes the ways in which the revisions that Welty made to the story after Beckwith’s arrest were connected to the class status, Southern identity, and racial consciousness of the killer. The resemblances between Dylan’s and Welty’s responses to the Evers murder show that the tendency to associate racist violence with the economic resentments of lower-class whites is evidenced among both Northern “outsiders” and Southern “insiders.”
这一章比较了韦尔蒂的《声音从哪里来?》鲍勃·迪伦(Bob Dylan)的《他们游戏中的棋子》(Only a Pawn in Their Game)，通过考察两位艺术家对谋杀梅加·埃弗斯(Medgar Evers)的凶手及其动机的共同假设，探索了阶级、种族主义暴力和地区认同之间的关系。这篇文章认为，阶级焦虑既表现在贝克威斯这样的种族主义暴力行为中，也表现在将这种暴力作为南方白人下层阶级的专属领域的艺术概念化中。这一章还分析了韦尔蒂在贝克威斯被捕后对故事的修改与凶手的阶级地位、南方身份和种族意识之间的联系。迪伦和韦尔蒂对埃弗斯谋杀案的回应之间的相似之处表明，将种族主义暴力与下层白人的经济怨恨联系起来的倾向，在北方的“局外人”和南方的“圈内人”中都有体现。
{"title":"Insiders, Outsiders, and Class Anxiety","authors":"Adrienne Akins Warfield","doi":"10.2307/j.ctvs32r00.12","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.12","url":null,"abstract":"This chapter compares Welty’s “Where Is the Voice Coming From?” with Bob Dylan’s “Only a Pawn in Their Game,” exploring the relationship between class, racist violence, and regional identity through examining the common assumptions both artists shared about Medgar Evers’ murderer and his motivations. The essay argues that class anxiety manifests itself both in acts of racist violence like Beckwith’s and in artistic conceptualizations of such violence as the exclusive domain of the white Southern underclass. The chapter also analyzes the ways in which the revisions that Welty made to the story after Beckwith’s arrest were connected to the class status, Southern identity, and racial consciousness of the killer. The resemblances between Dylan’s and Welty’s responses to the Evers murder show that the tendency to associate racist violence with the economic resentments of lower-class whites is evidenced among both Northern “outsiders” and Southern “insiders.”","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"204 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116226192","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}
This chapter evaluates Losing Battles as a response to Civil Rights ferment, regarding the novel broadly through the prisms of Eagletonian Marxism and speech act theory. The analysis argues that the text’s primary formal characteristic, its epic blending of scores of vocal performances, typically spoken by senior members of the Beecham-Renfro family, disseminates and enforces a range of ideological conformities, including but not limited to those policing ethnicity. Through the delivery of these speeches, characters engage inadvertently or otherwise in speech acts that traumatize and dominate and reproduce chauvinistic and belligerent cultural narratives. Namely, Losing Battles reveals the mechanism of Althusserian interpellation as it operates in southern culture; however, outsiders and even a few insiders escape the authority of received ideas and, therefore, reveal emancipatory potential.
{"title":"Ideology, Ethnicity, and Performativity in Eudora Welty’s Losing Battles","authors":"Stephen M. Fuller","doi":"10.2307/j.ctvs32r00.15","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.15","url":null,"abstract":"This chapter evaluates Losing Battles as a response to Civil Rights ferment, regarding the novel broadly through the prisms of Eagletonian Marxism and speech act theory. The analysis argues that the text’s primary formal characteristic, its epic blending of scores of vocal performances, typically spoken by senior members of the Beecham-Renfro family, disseminates and enforces a range of ideological conformities, including but not limited to those policing ethnicity. Through the delivery of these speeches, characters engage inadvertently or otherwise in speech acts that traumatize and dominate and reproduce chauvinistic and belligerent cultural narratives. Namely, Losing Battles reveals the mechanism of Althusserian interpellation as it operates in southern culture; however, outsiders and even a few insiders escape the authority of received ideas and, therefore, reveal emancipatory potential.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123799773","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}
This chapter examines Eudora Welty’s rejection of the Cult of the Lost Cause and its veneration of the Civil War, a conflict she associated with the kind of narcissistic melancholia Judith Butler interrogates in Precarious Life: The Powers of Mourning and Violence. Grief, Butler argues, can call one’s sense of self into question by providing potent reminders of the self’s dependence upon others and by unraveling the narratives that one begins to tell of oneself. Welty’s lone Civil War story “The Burning,” which closely parodies Gone with the Wind, juxtaposes the self-destructive grief of her southern white ladies who face rape and the destruction of their home with the illuminating mourning borne by their slave Delilah, who grieves for her own losses and for those of her masters, and in doing so signals a liberating break from the past and the possibilities of new identities and new stories.
本章考察了尤多拉·韦尔蒂对失败的信仰的拒绝和对内战的崇拜，她将这种冲突与朱迪思·巴特勒在《不稳定的生活:哀悼和暴力的力量》中所探究的那种自恋的忧郁联系在一起。巴特勒认为，悲伤可以通过强有力地提醒人们自我对他人的依赖，并通过瓦解一个人开始讲述自己的故事，从而使一个人的自我意识受到质疑。威尔蒂唯一的内战故事《燃烧》(The Burning)是对《乱世佳人》(Gone with The Wind)的模仿，它将面临强奸和家园被毁的南方白人女性的自我毁灭的悲伤，与她们的奴隶黛丽拉(Delilah)的悲恸并列，黛丽拉为自己和主人的损失而悲伤，这样做标志着与过去的解放，以及新身份和新故事的可能性。
{"title":"Faltering Narrative","authors":"S. Donaldson","doi":"10.2307/j.ctvs32r00.11","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.11","url":null,"abstract":"This chapter examines Eudora Welty’s rejection of the Cult of the Lost Cause and its veneration of the Civil War, a conflict she associated with the kind of narcissistic melancholia Judith Butler interrogates in Precarious Life: The Powers of Mourning and Violence. Grief, Butler argues, can call one’s sense of self into question by providing potent reminders of the self’s dependence upon others and by unraveling the narratives that one begins to tell of oneself. Welty’s lone Civil War story “The Burning,” which closely parodies Gone with the Wind, juxtaposes the self-destructive grief of her southern white ladies who face rape and the destruction of their home with the illuminating mourning borne by their slave Delilah, who grieves for her own losses and for those of her masters, and in doing so signals a liberating break from the past and the possibilities of new identities and new stories.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125921612","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}
Responding to work begun in the 2013 collection Eudora Welty, Whiteness, and Race that mined and deciphered the complexity of her responses to the Jim Crow South, the thirteen diverse voices of New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. As a group these essays draw added attention to the tangling, interdependent intersectionality in Welty’s portrayals of race, class, and gender––an interaction defining and configuring our American social structure and prominent American systems of disadvantage in both Welty’s time and our own. These essays and the collection as a whole help us to more clearly understand Welty’s artistic commentary on her time and place, and how it unfolded in her photography and fiction over a timespan (1930s—1960s) when the country as a whole was moving towards increased social awareness.
{"title":"Eudora Welty, Whiteness, and Race Reconsidered","authors":"H. Pollack","doi":"10.2307/j.ctvs32r00.4","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.4","url":null,"abstract":"Responding to work begun in the 2013 collection Eudora Welty, Whiteness, and Race that mined and deciphered the complexity of her responses to the Jim Crow South, the thirteen diverse voices of New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. As a group these essays draw added attention to the tangling, interdependent intersectionality in Welty’s portrayals of race, class, and gender––an interaction defining and configuring our American social structure and prominent American systems of disadvantage in both Welty’s time and our own. These essays and the collection as a whole help us to more clearly understand Welty’s artistic commentary on her time and place, and how it unfolded in her photography and fiction over a timespan (1930s—1960s) when the country as a whole was moving towards increased social awareness.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129674736","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}
In William Faulkner’s Absalom, Absalom!, Eudora Welty’s Delta Wedding, and Toni Morrison’s Song of Solomon characters enter haunted houses seeking information only to be confronted on the stairs by mysterious African American women. This essay explores what is at stake in the portrayals of African American specters standing on staircases and impeding other characters’ desire for knowledge. The gothic energy driving the repetition is the conflation of person and property that happens in slavery, causing these women not just to haunt the houses but to haunt as houses, as the status of property they were assigned because of their race. While this status renders the women in one sense powerless, each uses her situation as property to assert a different kind of possession, thereby becoming powerful specters. As property, the women testify to the horror of slavery. As specters, the women reveal how that horror haunts the present.
{"title":"Specters on Staircases","authors":"S. Ford","doi":"10.2307/j.ctvs32r00.7","DOIUrl":"https://doi.org/10.2307/j.ctvs32r00.7","url":null,"abstract":"In William Faulkner’s Absalom, Absalom!, Eudora Welty’s Delta Wedding, and Toni Morrison’s Song of Solomon characters enter haunted houses seeking information only to be confronted on the stairs by mysterious African American women. This essay explores what is at stake in the portrayals of African American specters standing on staircases and impeding other characters’ desire for knowledge. The gothic energy driving the repetition is the conflation of person and property that happens in slavery, causing these women not just to haunt the houses but to haunt as houses, as the status of property they were assigned because of their race. While this status renders the women in one sense powerless, each uses her situation as property to assert a different kind of possession, thereby becoming powerful specters. As property, the women testify to the horror of slavery. As specters, the women reveal how that horror haunts the present.","PeriodicalId":120672,"journal":{"name":"New Essays on Eudora Welty, Class, and Race","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130101630","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}
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