Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0027
Bethan Jones
This chapter considers a number of ways in which musical composers have engaged with and assimilated Lawrence’s poetry (as well as some of his other works and, indeed, his life story), over a 100-year period. Foregrounding texts selected for musical setting, the chapter begins with an analysis of sound, silence, rhythm, repetition and movement in Lawrence’s verse. Subsequently, it explores the various strategies adopted by composers when setting these poems to music. Some create a song from a single poem; some compose song-cycles by combining poems from within a single collection, such as Birds, Beasts and Flowers. Others juxtapose poems from across a range of Lawrence’s verse-books – or combine Lawrence poems with those of other poets. This chapter explores the implications of such choices, offering analyses of musical compositions in which words and sounds have been creatively combined. Composers discussed include Peter Warlock, Benjamin Britten and Arnold Cooke, alongside a number of lesser-known contemporary figures, whose works (spanning a number of genres) bring Lawrence to a new generation.
{"title":"Lawrence Set to Music","authors":"Bethan Jones","doi":"10.3366/edinburgh/9781474456623.003.0027","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0027","url":null,"abstract":"This chapter considers a number of ways in which musical composers have engaged with and assimilated Lawrence’s poetry (as well as some of his other works and, indeed, his life story), over a 100-year period. Foregrounding texts selected for musical setting, the chapter begins with an analysis of sound, silence, rhythm, repetition and movement in Lawrence’s verse. Subsequently, it explores the various strategies adopted by composers when setting these poems to music. Some create a song from a single poem; some compose song-cycles by combining poems from within a single collection, such as Birds, Beasts and Flowers. Others juxtapose poems from across a range of Lawrence’s verse-books – or combine Lawrence poems with those of other poets. This chapter explores the implications of such choices, offering analyses of musical compositions in which words and sounds have been creatively combined. Composers discussed include Peter Warlock, Benjamin Britten and Arnold Cooke, alongside a number of lesser-known contemporary figures, whose works (spanning a number of genres) bring Lawrence to a new generation.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131392446","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0025
J. Ruderman
This chapter explores the close attention that Lawrence paid to clothing and jewellery. Lawrence had a keen eye for dress and adornment: for its utility, aesthetic qualities and assertions of identity. He saw the ‘interior decoration’ of art hung in homes, of which he wrote in his late essay ‘Pictures on the Walls’, as of a piece with the exterior decoration on/of the human body; indeed, he likened the need for changing pictures to that of refreshing one’s clothes. While at once admiring of the expressiveness and innovativeness of clothing and jewellery design, he was also critical of fashion’s perversion by consumerism and materialism: fashion for the sake of fashionability rather than beauty and renewal.
{"title":"Clothing and Jewellery","authors":"J. Ruderman","doi":"10.3366/edinburgh/9781474456623.003.0025","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0025","url":null,"abstract":"This chapter explores the close attention that Lawrence paid to clothing and jewellery. Lawrence had a keen eye for dress and adornment: for its utility, aesthetic qualities and assertions of identity. He saw the ‘interior decoration’ of art hung in homes, of which he wrote in his late essay ‘Pictures on the Walls’, as of a piece with the exterior decoration on/of the human body; indeed, he likened the need for changing pictures to that of refreshing one’s clothes. While at once admiring of the expressiveness and innovativeness of clothing and jewellery design, he was also critical of fashion’s perversion by consumerism and materialism: fashion for the sake of fashionability rather than beauty and renewal.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114106741","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0004
V. Sherry
This chapter tracks the impact of history on D. H. Lawrence's development from The Rainbow to Women in Love. It follows a development keyed to Lawrence's experience of the Great War, the traumatic event which, if unnamed in either of the two novels, generates and explains the striking difference between them. His process of development here provides a kind of history in miniature of a long nineteenth century, where the Romanticism of the earlier century turned into the decaying and then decayed Romanticism of Decadence and, through further turns of the early twentieth century, Modernism. In play and at stake in this process is the history and memory of Revolution, a substantial promise in earlier Romanticism, which abides in Lawrence's social imaginary as a possibility--now lost--of transformational historical change. The sense of despair in Women in Love discovers thus its longer historical memory and profounder literary consequence.
{"title":"Romanticism, Decadence, History","authors":"V. Sherry","doi":"10.3366/edinburgh/9781474456623.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0004","url":null,"abstract":"This chapter tracks the impact of history on D. H. Lawrence's development from The Rainbow to Women in Love. It follows a development keyed to Lawrence's experience of the Great War, the traumatic event which, if unnamed in either of the two novels, generates and explains the striking difference between them. His process of development here provides a kind of history in miniature of a long nineteenth century, where the Romanticism of the earlier century turned into the decaying and then decayed Romanticism of Decadence and, through further turns of the early twentieth century, Modernism. In play and at stake in this process is the history and memory of Revolution, a substantial promise in earlier Romanticism, which abides in Lawrence's social imaginary as a possibility--now lost--of transformational historical change. The sense of despair in Women in Love discovers thus its longer historical memory and profounder literary consequence.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128431630","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0028
Louis K. Greiff
This chapter examines five film adaptations of Lawrence’s works released between 2002 and 2014. Two films (Odour of Chrysanthemums and Lady Chatterley et l'homme des bois) exemplify surface fidelity by preserving Lawrence's setting, plot, and character. The three remaining films (The Rocking Horse Winner, The Blind Man, and The White Stocking) seriously disturb the textual surface. This juxtaposition of strategies reveals that neither is superior. Both have resulted in remarkable films preserving Lawrence's substance even through the process of transformation. The contemporary Lawrence films illuminate his writing as both prophetic and cinematic. The three transformative films verify that his work anticipates the preoccupations and even the events of recent times. All five films reveal Lawrence as a cinematic writer despite his professed dislike of film. The intensely visual scenes all throughout his fiction prefigure cinematic techniques developed long after his death.
{"title":"Lawrence and Twenty-First-Century Film","authors":"Louis K. Greiff","doi":"10.3366/edinburgh/9781474456623.003.0028","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0028","url":null,"abstract":"This chapter examines five film adaptations of Lawrence’s works released between 2002 and 2014. Two films (Odour of Chrysanthemums and Lady Chatterley et l'homme des bois) exemplify surface fidelity by preserving Lawrence's setting, plot, and character. The three remaining films (The Rocking Horse Winner, The Blind Man, and The White Stocking) seriously disturb the textual surface. This juxtaposition of strategies reveals that neither is superior. Both have resulted in remarkable films preserving Lawrence's substance even through the process of transformation. The contemporary Lawrence films illuminate his writing as both prophetic and cinematic. The three transformative films verify that his work anticipates the preoccupations and even the events of recent times. All five films reveal Lawrence as a cinematic writer despite his professed dislike of film. The intensely visual scenes all throughout his fiction prefigure cinematic techniques developed long after his death.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132198817","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0016
P. Eggert
Though relatively short-lived, Lawrence was a prolific writer. Characteristically, he would be writing and revising multiple works, often across genres, at or around the same time. Taking a break from one to write the other became habitual – and understandable given the extended period that, say, a novel might take to bring to completion. Each work became an element in the fertile soil from which the others sprang. To demonstrate the truth and implications of this it is only necessary to take a cross-section of his contemporaneous writings at any one creative moment. Immediately, his oeuvre appears differently. The surprisingly provisional nature of his usually forcefully expressed ideas comes into focus when we privilege textual process; and accepted practices of interpretation, based on the published forms of his writings taken as individual objects, as separate works, become problematic. An unfamiliar Lawrence emerges. Examples are taken from Twilight in Italy, ‘The Blind Man’ and The Boy in the Bush.
{"title":"Revising and Rewriting","authors":"P. Eggert","doi":"10.3366/edinburgh/9781474456623.003.0016","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0016","url":null,"abstract":"Though relatively short-lived, Lawrence was a prolific writer. Characteristically, he would be writing and revising multiple works, often across genres, at or around the same time. Taking a break from one to write the other became habitual – and understandable given the extended period that, say, a novel might take to bring to completion. Each work became an element in the fertile soil from which the others sprang. To demonstrate the truth and implications of this it is only necessary to take a cross-section of his contemporaneous writings at any one creative moment. Immediately, his oeuvre appears differently. The surprisingly provisional nature of his usually forcefully expressed ideas comes into focus when we privilege textual process; and accepted practices of interpretation, based on the published forms of his writings taken as individual objects, as separate works, become problematic. An unfamiliar Lawrence emerges. Examples are taken from Twilight in Italy, ‘The Blind Man’ and The Boy in the Bush.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125796032","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0029
Catherine Brown
This chapter takes a double portrait by Dorothy Brett of D. H. Lawrence as Christ and Pan as the starting point for an analysis of how Lawrence has been apprehended – both positively and negatively – as resembling Christ and/or Pan, or else for failing to resemble one of them sufficiently, from his own lifetime until the 1960s. Brett’s portraiture of Lawrence also initiates a study of the painted and photographic iconography of Lawrence made chiefly but not exclusively within his own lifetime, with a focus on the extent to which these suggest a Christ-like or a Pan-like aspect. A concluding section observes that both deifying and iconoclastic responses to Lawrence are now less common, and that more secular, but still passionately-appreciative, responses to him have largely replaced them.
{"title":"D. H. Lawrence: Icon","authors":"Catherine Brown","doi":"10.3366/edinburgh/9781474456623.003.0029","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0029","url":null,"abstract":"This chapter takes a double portrait by Dorothy Brett of D. H. Lawrence as Christ and Pan as the starting point for an analysis of how Lawrence has been apprehended – both positively and negatively – as resembling Christ and/or Pan, or else for failing to resemble one of them sufficiently, from his own lifetime until the 1960s. Brett’s portraiture of Lawrence also initiates a study of the painted and photographic iconography of Lawrence made chiefly but not exclusively within his own lifetime, with a focus on the extent to which these suggest a Christ-like or a Pan-like aspect. A concluding section observes that both deifying and iconoclastic responses to Lawrence are now less common, and that more secular, but still passionately-appreciative, responses to him have largely replaced them.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131727016","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0009
A. Harrison
This chapter opens by situating Lawrence’s engagement with historiography in relation to early twentieth-century debates about the status of history as an art or a science. It examines Lawrence’s school textbook Movements in European History, showing how he incorporated the contemporary graphic and scientific approaches in his narrative to articulate a distinctive epochal approach to history. It then explores Lawrence’s innovative engagement with life writing as an historiographical form, demonstrating Lawrence’s contribution to the issues raised by the modernist ‘New Biography’. It traces his reflections on, and experiments in, fictional autobiography, autobiography (taking account of his late essays and the poem ‘A Life History in Harmonies and Discords’), biography (the ‘Memoir of Maurice Magnus’) and auto/biografiction.
{"title":"Historiography and Life Writing","authors":"A. Harrison","doi":"10.3366/edinburgh/9781474456623.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0009","url":null,"abstract":"This chapter opens by situating Lawrence’s engagement with historiography in relation to early twentieth-century debates about the status of history as an art or a science. It examines Lawrence’s school textbook Movements in European History, showing how he incorporated the contemporary graphic and scientific approaches in his narrative to articulate a distinctive epochal approach to history. It then explores Lawrence’s innovative engagement with life writing as an historiographical form, demonstrating Lawrence’s contribution to the issues raised by the modernist ‘New Biography’. It traces his reflections on, and experiments in, fictional autobiography, autobiography (taking account of his late essays and the poem ‘A Life History in Harmonies and Discords’), biography (the ‘Memoir of Maurice Magnus’) and auto/biografiction.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114576090","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0021
J. Wallace
This chapter examines D. H. Lawrence’s writings on visual art in the context of his own practice as a painter. It explores a relationship between the concepts of painting and picture-making in two sections. Part I, ‘Early Painterly Criticism’, argues that Lawrence’s development as an authoritative art critic is shaped by his intense consciousness of the class boundaries that determine access to artworks and art education. ‘Later Painterly Criticism’ then examines writing from 1925 onwards which took Paul Cézanne as the model of a de-aestheticised art, leading to the use of the non-technical term ‘life’ to assess his own paintings, when this original painterly work began in 1926 and was exhibited in 1929. The chapter concludes that Lawrence’s visual aesthetic was always entwined with the question of material access to art and its discourses in a class-based society, and thus that Lawrence was simultaneously committed to ideas of individual painterly genius and to wider democratic inclusivity in the field of visual culture.
{"title":"Practitioner Criticism: Painting","authors":"J. Wallace","doi":"10.3366/edinburgh/9781474456623.003.0021","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0021","url":null,"abstract":"This chapter examines D. H. Lawrence’s writings on visual art in the context of his own practice as a painter. It explores a relationship between the concepts of painting and picture-making in two sections. Part I, ‘Early Painterly Criticism’, argues that Lawrence’s development as an authoritative art critic is shaped by his intense consciousness of the class boundaries that determine access to artworks and art education. ‘Later Painterly Criticism’ then examines writing from 1925 onwards which took Paul Cézanne as the model of a de-aestheticised art, leading to the use of the non-technical term ‘life’ to assess his own paintings, when this original painterly work began in 1926 and was exhibited in 1929. The chapter concludes that Lawrence’s visual aesthetic was always entwined with the question of material access to art and its discourses in a class-based society, and thus that Lawrence was simultaneously committed to ideas of individual painterly genius and to wider democratic inclusivity in the field of visual culture.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115387044","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0018
J. Tambling
Lawrence was a prolific writer of plays, and this chapter reviews what he was interested in when he wrote them, giving attention to all eight full-length plays, but concentrating on his mining trilogy, A Collier’s Friday Night, The Widowing of Mrs Holroyd and The Daughter in Law. It examines what is meant by ‘the dramatic’ (as opposed to the ‘theatrical’) and situates Lawrence’s plays within his theoretical interests, for example in ritual, and play, and asks about the differences between novel and drama, as Lawrence saw these, and how the theoretical distinctions work out in practice.
{"title":"Drama and the Dramatic","authors":"J. Tambling","doi":"10.3366/edinburgh/9781474456623.003.0018","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0018","url":null,"abstract":"Lawrence was a prolific writer of plays, and this chapter reviews what he was interested in when he wrote them, giving attention to all eight full-length plays, but concentrating on his mining trilogy, A Collier’s Friday Night, The Widowing of Mrs Holroyd and The Daughter in Law. It examines what is meant by ‘the dramatic’ (as opposed to the ‘theatrical’) and situates Lawrence’s plays within his theoretical interests, for example in ritual, and play, and asks about the differences between novel and drama, as Lawrence saw these, and how the theoretical distinctions work out in practice.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115414857","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 : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0014
Keith Cushman
This chapter relates Lawrence's ideas about novel writing to his own novels. Early in his career he wrestled with and rejected the Flaubertian ideal of careful 'construction' and 'form', precisely chosen words, and authorial impersonality. The ideas expressed in the six essays he wrote about the novel, five of them in 1925, inform his own fiction. The distinctive qualities of his best fiction include incomplete, open form - forcefulness, struggle and even danger - energy and quickness. While the chapter focuses mainly on Sons and Lovers, The Rainbow and Women in Love, it discusses all the novels except The Lost Girl. The chapter also considers the relationship of Lawrence's criticism of other writers, including Dostoevsky, Tolstoy and Whitman, to his own novel writing.
{"title":"The Idea of the Novel","authors":"Keith Cushman","doi":"10.3366/edinburgh/9781474456623.003.0014","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456623.003.0014","url":null,"abstract":"This chapter relates Lawrence's ideas about novel writing to his own novels. Early in his career he wrestled with and rejected the Flaubertian ideal of careful 'construction' and 'form', precisely chosen words, and authorial impersonality. The ideas expressed in the six essays he wrote about the novel, five of them in 1925, inform his own fiction. The distinctive qualities of his best fiction include incomplete, open form - forcefulness, struggle and even danger - energy and quickness. While the chapter focuses mainly on Sons and\u0000 Lovers, The Rainbow and Women in Love, it discusses all the novels except The Lost Girl. The chapter also considers the relationship of Lawrence's criticism of other writers, including Dostoevsky, Tolstoy and Whitman, to his own novel writing.","PeriodicalId":198046,"journal":{"name":"The Edinburgh Companion to D. H. Lawrence and the Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134419340","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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