Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-10-129-138
A. F. Esono
{"title":"ALBRECHT DURER: FROM RENAISSANCE TO BAROQUE. EVOLUTION OF THEORY","authors":"A. F. Esono","doi":"10.28995/2686-7249-2019-10-129-138","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-10-129-138","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125936520","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-8-86-95
Aleksei E. Masalov
In this article the author analyses “Ode on Visiting the Belosaraisk Spit on the Sea of Azov” by Ilia Kutik. There is a special mythopoetic in this text, reassembling the vegetative version of the mythological plot through the transformation of the monstrous fish into the Belosaraisk spit. At the same time, the image of that fish is not reduced to the usual outlines of a mythical character or monster, since it is based on a rethinking of the resurrection motive contained in the structure of the vegetative composition. The key episode of “Ode...”, the birth of the Belosaraisk spit, is represented by synthesis, where one detail is layered on another, and space is always in dynamics, which speaks of another feature of the poem, constant metamorphoses of space. The crossing of myth and technology in the language of the work creates both specific coordinates and the special functioning of the metabole. The mythopoetic basis provides the cumulative structure of the metabole. Cumulations synthesizing the semantic fields of physical phenomena and physicality, the natural and technological form the basis of the synthetic trope. Such functioning of the metabole organizes the mutual involvement of various details in the universe, characteristic of the metarealistic expressing. In that sense, “Ode...” by Kutik is built as a kind of reassembling Ovid’s “Metamorphoses” through the odic canon and the metabolic language of metarealism.
{"title":"“ODE ON VISITING THE BELOSARAISK SPIT ON THE SEA OF AZOV” BY ILIA KUTIK. MYTHOPOETICS, METAMORPHOSES OF THE SPACE AND THE FUNCTION OF METABOLE","authors":"Aleksei E. Masalov","doi":"10.28995/2686-7249-2021-8-86-95","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-8-86-95","url":null,"abstract":"In this article the author analyses “Ode on Visiting the Belosaraisk Spit on the Sea of Azov” by Ilia Kutik. There is a special mythopoetic in this text, reassembling the vegetative version of the mythological plot through the transformation of the monstrous fish into the Belosaraisk spit. At the same time, the image of that fish is not reduced to the usual outlines of a mythical character or monster, since it is based on a rethinking of the resurrection motive contained in the structure of the vegetative composition. The key episode of “Ode...”, the birth of the Belosaraisk spit, is represented by synthesis, where one detail is layered on another, and space is always in dynamics, which speaks of another feature of the poem, constant metamorphoses of space. The crossing of myth and technology in the language of the work creates both specific coordinates and the special functioning of the metabole. The mythopoetic basis provides the cumulative structure of the metabole. Cumulations synthesizing the semantic fields of physical phenomena and physicality, the natural and technological form the basis of the synthetic trope. Such functioning of the metabole organizes the mutual involvement of various details in the universe, characteristic of the metarealistic expressing. In that sense, “Ode...” by Kutik is built as a kind of reassembling Ovid’s “Metamorphoses” through the odic canon and the metabolic language of metarealism.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123328479","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-9-129-141
E. Basovskaya
{"title":"BRIGHT TOMORROW YESTERDAY AND TODAY (SOVIET COLLOCATION IN A CONTEMPORARY MEDIA TEXT)","authors":"E. Basovskaya","doi":"10.28995/2686-7249-2019-9-129-141","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-9-129-141","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123546202","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-1-28-38
S. Malykh
{"title":"EGYPTIAN INFLUENCE ON THE SHAPE AND DECORATION OF MEROITIC CERAMICS (BASED ON THE MATERIALS FROM EXCAVATIONS IN ABU ERTEILA, SUDAN","authors":"S. Malykh","doi":"10.28995/2686-7249-2019-1-28-38","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-1-28-38","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123715336","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-8-78-90
Lyudmila I. Bogdanova
The article deals with the semantic uncertainty of the phraseologism to lose face in the modern Russian language. The purpose of the study is to establish the evaluative characteristics of “loss of face” in the context of other moral “losses” (lose shame, lose conscience). The work was carried out on the material of explanatory and phraseological dictionaries of the Russian language with the use of data from the National Corpus of the Russian Language. In the course of the study, methods and operational procedures were used, including contextual analysis of phraseological unit syntagmatics, elements of component and frame analysis, methods of equivalent substitutions and context transformations. The study found that the “loss of face” in the Russian language occupies a special position among other significant moral losses. “To lose conscience, shame” denotes the loss of morally valuable qualities denoted by these words, and is understood unambiguously in this regard. The polysemy of the word face leads to the fact that the phraseological units lose face can convey a whole range of meanings, among which the main ones are the following: loss of individuality, distinctive personality traits, loss of reputation and respect in the eyes of others, loss of control over oneself, one’s emotions. The evaluative characteristics of the phraseological unit to lose face also differ from the evaluation of “loss of shame” or “loss of conscience”. “Loss of shame (conscience)” receives public censure; “loss of face” is negatively evaluated and painfully realized by the subject himself.
{"title":"WHAT DOES IT “LOSE FACE” MEAN IN RUSSIAN?","authors":"Lyudmila I. Bogdanova","doi":"10.28995/2686-7249-2022-8-78-90","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-8-78-90","url":null,"abstract":"The article deals with the semantic uncertainty of the phraseologism to lose face in the modern Russian language. The purpose of the study is to establish the evaluative characteristics of “loss of face” in the context of other moral “losses” (lose shame, lose conscience). The work was carried out on the material of explanatory and phraseological dictionaries of the Russian language with the use of data from the National Corpus of the Russian Language. In the course of the study, methods and operational procedures were used, including contextual analysis of phraseological unit syntagmatics, elements of component and frame analysis, methods of equivalent substitutions and context transformations. The study found that the “loss of face” in the Russian language occupies a special position among other significant moral losses. “To lose conscience, shame” denotes the loss of morally valuable qualities denoted by these words, and is understood unambiguously in this regard. The polysemy of the word face leads to the fact that the phraseological units lose face can convey a whole range of meanings, among which the main ones are the following: loss of individuality, distinctive personality traits, loss of reputation and respect in the eyes of others, loss of control over oneself, one’s emotions. The evaluative characteristics of the phraseological unit to lose face also differ from the evaluation of “loss of shame” or “loss of conscience”. “Loss of shame (conscience)” receives public censure; “loss of face” is negatively evaluated and painfully realized by the subject himself.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"16 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123719924","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-3-32-41
T. A. Zotova
The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama
{"title":"TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS","authors":"T. A. Zotova","doi":"10.28995/2686-7249-2021-3-32-41","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-3-32-41","url":null,"abstract":"The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"129 21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125281644","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-8-96-111
Y. Domanskii
The article deals with references to the work of Boris Grebenshchikov in the “Dreams Swimmer” by Lev Naumov “The swimmer of dreams” (2021). The common denominator of the system of these references is the aesthetic character of the hero’s understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of “Aquarium” in Naumov’s novel makes it possible to interpret the character’s worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the “word of rock” considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character’s worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.
这篇文章涉及到Boris Grebenshchikov在Lev Naumov的《梦中的游泳者》(The Swimmer of Dreams, 2021)中的作品。这些参考体系的共同点是英雄对自己在世界中的理解以及世界与自己的关系的审美特征，这即使不能直接将英雄引向他自己选择的观念，但至少是这种观念出现的征兆。因此，诺莫夫小说中对“水族馆”歌曲的指称系统使得将人物的世界观解读为一种基于理解现实的审美观念的世界观成为可能。文章中考虑的现代俄罗斯小说对“摇滚之词”的吸引力的例子使我们能够确保这种包含有助于揭示人物世界观的细节，对这种吸引力的分析使我们更接近于对文本的更深入理解。
{"title":"ON THE ISSUE OF THE “ROCK POETRY WORD” IN CONTEMPORARY RUSSIAN NOVEL. THE WORLD OF BORIS GREBENSHCHIKOV IN THE WORLD OF “DREAMS SWIMMER” BY LEV NAUMOV","authors":"Y. Domanskii","doi":"10.28995/2686-7249-2021-8-96-111","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-8-96-111","url":null,"abstract":"The article deals with references to the work of Boris Grebenshchikov in the “Dreams Swimmer” by Lev Naumov “The swimmer of dreams” (2021). The common denominator of the system of these references is the aesthetic character of the hero’s understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of “Aquarium” in Naumov’s novel makes it possible to interpret the character’s worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the “word of rock” considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character’s worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"449 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116519448","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-2-68-83
A. Kholikov
{"title":"LITERARY-CRITICAL AND JOURNALISTIC TEXTS OF D.S. MEREZHKOVSKY, WRITTEN IN THE 1880-1890S AND NOT INCLUDED IN THE \"ETERNAL COMPANIONS\". TOWARDS THE QUESTION OF AUTHOR'S SELF-REPRESENTATION","authors":"A. Kholikov","doi":"10.28995/2686-7249-2019-2-68-83","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-2-68-83","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122302638","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-6-53-64
O. Nazarova
The paper aims at clarifying the meanings of early Italian painted polyptychs. The rationale behind the genesis of this particular type of altarpiece, which spread rapidly in the 1260s–1320s and became very popular in the churches of the Dominicans and Franciscans, has received only partial explanation in existing scholarship. A new perspective in its study can be advanced through consideration of the mission of early polyptychs in the context of eschatological expectations of the era, which were largely defined by the prophecies of Joachim of Flores. These expectations shaped the mendicant orders’ narratives of their own missions, which found explicit expression in their art only much later. By confronting the early polyptych with the later orders’ pieces reflecting their identity, the author argues that early mendicant altarpieces served primarily as visual representations of each order’s mission, which largely determined their popularity.
{"title":"IOACHIM OF FLORES, MENDICANT ORDERS AND THE EARLY ITALIAN ALTARPIECE","authors":"O. Nazarova","doi":"10.28995/2686-7249-2021-6-53-64","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-6-53-64","url":null,"abstract":"The paper aims at clarifying the meanings of early Italian painted polyptychs. The rationale behind the genesis of this particular type of altarpiece, which spread rapidly in the 1260s–1320s and became very popular in the churches of the Dominicans and Franciscans, has received only partial explanation in existing scholarship. A new perspective in its study can be advanced through consideration of the mission of early polyptychs in the context of eschatological expectations of the era, which were largely defined by the prophecies of Joachim of Flores. These expectations shaped the mendicant orders’ narratives of their own missions, which found explicit expression in their art only much later. By confronting the early polyptych with the later orders’ pieces reflecting their identity, the author argues that early mendicant altarpieces served primarily as visual representations of each order’s mission, which largely determined their popularity.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122381339","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}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-10-52-68
O. Kiyanskaya, D. Feldman
The article is the fourth in a series of publications devoted to the biography and journalistic work of N.A. Logunova the Russian emigrant writer. It deals with the first years of her adult life in Odessa, the beginning of her literary career and the activities of the literary circle “The Green Lamp” (Zelenaya lampa). The authors focus on the first steps in the literature of the later famous Soviet writers and journalists V.P. Kataev, I.E. Babel, E.G. Bagritsky, Y.K. Olesha, etc., their first publications in the Odessa periodicals and their public speeches. In addition, it is about, one might say, a particular lifestyle of Odessa writers, formed under the influence of the cultural specifics of their home-city. Logunova tells in detail about the life of Eduard Bagritsky, who loved birds and was indifferent to the conveniences of life, describes the methods of Babel’s literary work, who from his youth aspired to the maximum saturation of his prose, literally honing every phrase, removing everything that he considered optional. The article also characterizes methods used by Odessa writers for adaptation to the new – Soviet – conditions of literary life, fundamentally different from the pre-Soviet – political situation.
{"title":"ODESSA WRITERS OF THE 1920S IN THE JOURNALISM OF N.A. LOGUNOVA (IVANOVA)","authors":"O. Kiyanskaya, D. Feldman","doi":"10.28995/2686-7249-2021-10-52-68","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-10-52-68","url":null,"abstract":"The article is the fourth in a series of publications devoted to the biography and journalistic work of N.A. Logunova the Russian emigrant writer. It deals with the first years of her adult life in Odessa, the beginning of her literary career and the activities of the literary circle “The Green Lamp” (Zelenaya lampa). The authors focus on the first steps in the literature of the later famous Soviet writers and journalists V.P. Kataev, I.E. Babel, E.G. Bagritsky, Y.K. Olesha, etc., their first publications in the Odessa periodicals and their public speeches. In addition, it is about, one might say, a particular lifestyle of Odessa writers, formed under the influence of the cultural specifics of their home-city. Logunova tells in detail about the life of Eduard Bagritsky, who loved birds and was indifferent to the conveniences of life, describes the methods of Babel’s literary work, who from his youth aspired to the maximum saturation of his prose, literally honing every phrase, removing everything that he considered optional. The article also characterizes methods used by Odessa writers for adaptation to the new – Soviet – conditions of literary life, fundamentally different from the pre-Soviet – political situation.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122929718","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：