Pub Date : 1900-01-01DOI: 10.31249/litzhur/2021.54.06
A. Sychev
The paper reconstructs the ethical implications of chronotope in the works of Alexei Ukhtomsky and Mikhail Bakhtin. The development of the concept is analyzed in the historical context of the transition from the ethics of norms (rooted in the timeless and non-spatial absolute) to the ethics of acts (performed in the specific time and space). It is shown that both theories of the chronotope proceed from the idea of the priority of a unique act (committed at a specific time in a certain place) before a general theory, and recognize the need to take into account the Other, who adds the dimension of value to the space-time unity. The chronotope is interpreted as a set of spatio-temporal conditions that sets the possibilities for a moral act. In conclusion the applications of the category of chronotope to the study of contemporary moral reality are discussed.
{"title":"MORAL DIMENTIONS OF CHRONOTOPE","authors":"A. Sychev","doi":"10.31249/litzhur/2021.54.06","DOIUrl":"https://doi.org/10.31249/litzhur/2021.54.06","url":null,"abstract":"The paper reconstructs the ethical implications of chronotope in the works of Alexei Ukhtomsky and Mikhail Bakhtin. The development of the concept is analyzed in the historical context of the transition from the ethics of norms (rooted in the timeless and non-spatial absolute) to the ethics of acts (performed in the specific time and space). It is shown that both theories of the chronotope proceed from the idea of the priority of a unique act (committed at a specific time in a certain place) before a general theory, and recognize the need to take into account the Other, who adds the dimension of value to the space-time unity. The chronotope is interpreted as a set of spatio-temporal conditions that sets the possibilities for a moral act. In conclusion the applications of the category of chronotope to the study of contemporary moral reality are discussed.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"36 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":"124341871","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: 10.31249/litzhur/2021.53.10
A. Man'kovskii
The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.
本文探讨了俄罗斯小作家阿列克谢·v·季莫费耶夫(Alexei V. Timofeev, 1812-1883)和《罗马与迦太基》(Rome and Carthage, 1837)这一鲜有研究的戏剧类型。与季莫费耶夫同时代的文学评论家约瑟夫·森科夫斯基认为他在古代情节剧中运用浪漫主义手法是诗人的失败。考虑到这一观点，本文分析了剧中的副文本元素、人物刻画方式、戏剧的幕分、情节事件与历史事实的联系。本文认为，该剧接近于浪漫主义戏剧的类型，作者建议将其称为“历史幻想”，其主要特点是情节神话和宗教传统与历史事件并存，史书英雄与民间传说英雄并存，对奇迹的信仰与理性主义并存。历史幻想的目标是产生一个时代的总体形象，传达时代的精神，而戏剧行动则居于次要地位。Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov的作品中给出了这种类型的样本。季莫费耶夫的戏剧正好妨碍了这种戏剧的发展。
{"title":"ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY","authors":"A. Man'kovskii","doi":"10.31249/litzhur/2021.53.10","DOIUrl":"https://doi.org/10.31249/litzhur/2021.53.10","url":null,"abstract":"The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"1 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":"128753029","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: 10.31249/litzhur/2019.46.06
Ivan Revyakov
{"title":"Game nature of fable. Analysis of the fable by I.A. Krylov «Musicians»","authors":"Ivan Revyakov","doi":"10.31249/litzhur/2019.46.06","DOIUrl":"https://doi.org/10.31249/litzhur/2019.46.06","url":null,"abstract":"","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"1 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":"131953646","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: 10.31249/litzhur/2023.60.10
{"title":"RUSSIAN ÉMIGRé ON THE WAVES OF HISTORY: VLADIMIR VARSHAVSKY AND HIS NOVEL “EXPECTATION”","authors":"","doi":"10.31249/litzhur/2023.60.10","DOIUrl":"https://doi.org/10.31249/litzhur/2023.60.10","url":null,"abstract":"","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"1 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":"132136856","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: 10.31249/litzhur/2022.55.10
I. Peshkov
The article summarizes the interim results of the problem “Bakhtin under a mask”, the main of which is the final solution of Bakhtin question in the sense that the presumption of authorship for disputed texts now unambiguously passes to M.M. Bakhtin. As arguments for proving Bakhtin's attribution of the books “Freudianism”, “The Formal Method in Literary Criticism” and “Marxism and the Philosophy of Language” both numerous testimonies of Bakhtin himself and his contemporaries, and the results of text analysis of controversial books are cited. The logically grouped evidence clarifies Bakhtin's ethical and scientific position on this issue. An immanent study of disputed texts from the point of view of their content and style, on the one hand, and comparing them with authentic Bakhtin works, on the other hand, leads to the recognition of their semantic and stylistic unity, which presupposes the unity of authorship.
{"title":"BAKHTIN QUESTION: THE INTERIM ANSWER","authors":"I. Peshkov","doi":"10.31249/litzhur/2022.55.10","DOIUrl":"https://doi.org/10.31249/litzhur/2022.55.10","url":null,"abstract":"The article summarizes the interim results of the problem “Bakhtin under a mask”, the main of which is the final solution of Bakhtin question in the sense that the presumption of authorship for disputed texts now unambiguously passes to M.M. Bakhtin. As arguments for proving Bakhtin's attribution of the books “Freudianism”, “The Formal Method in Literary Criticism” and “Marxism and the Philosophy of Language” both numerous testimonies of Bakhtin himself and his contemporaries, and the results of text analysis of controversial books are cited. The logically grouped evidence clarifies Bakhtin's ethical and scientific position on this issue. An immanent study of disputed texts from the point of view of their content and style, on the one hand, and comparing them with authentic Bakhtin works, on the other hand, leads to the recognition of their semantic and stylistic unity, which presupposes the unity of authorship.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"117 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":"128870175","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: 10.31249/litzhur/2022.55.06
A. Ranchin
In the comedy “The Return of Chatsky to Moscow <...>” by E.P. Rostopchina is a Slavophile character with the speaking surname Eleikin (elei - church oil), the prototype of which is A.S. Khomyakov. Eleikin’s words “I must cry all the abominations of Russia!!!...” are an allusion to Khomyakov’s famous poem “To Russia” (1854), which the author of the comedy took with indignation immediately after its appearance. There is a poem, which is attributed to Eleikin in the comedy, which is a satire on Slavophil doctrine and contains a number of parodic echoes with the lyric works of Khomyakov, as well as an allusion to his early tragedy “Dimitri the Pretender”. The edge of satire, in which the views of the Slavophiles are caricatured and partially distorted, is directed both against the Pan-Slavist ideas and against the idealization of the patriarchal order and values of old Russia. The appearance of the poem was apparently connected with the intensification of the activities of the Slavophiles manifested in the establishment of the journal “Russkaya Beseda”.
{"title":"ELEIKIN’S POEM FROM THE COMEDY BY E.P. ROSTOPCHINA “RETURN OF CHATSKY TO MOSCOW <...>” AS A PARODY OF SLAVOPHIL POETRY","authors":"A. Ranchin","doi":"10.31249/litzhur/2022.55.06","DOIUrl":"https://doi.org/10.31249/litzhur/2022.55.06","url":null,"abstract":"In the comedy “The Return of Chatsky to Moscow <...>” by E.P. Rostopchina is a Slavophile character with the speaking surname Eleikin (elei - church oil), the prototype of which is A.S. Khomyakov. Eleikin’s words “I must cry all the abominations of Russia!!!...” are an allusion to Khomyakov’s famous poem “To Russia” (1854), which the author of the comedy took with indignation immediately after its appearance. There is a poem, which is attributed to Eleikin in the comedy, which is a satire on Slavophil doctrine and contains a number of parodic echoes with the lyric works of Khomyakov, as well as an allusion to his early tragedy “Dimitri the Pretender”. The edge of satire, in which the views of the Slavophiles are caricatured and partially distorted, is directed both against the Pan-Slavist ideas and against the idealization of the patriarchal order and values of old Russia. The appearance of the poem was apparently connected with the intensification of the activities of the Slavophiles manifested in the establishment of the journal “Russkaya Beseda”.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"65 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":"121552639","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: 10.31249/litzhur/2022.58.08
{"title":"HISTORY AND THEORY OF LITERATURE IN THE WORKS OF A.V. MIKHAILOV","authors":"","doi":"10.31249/litzhur/2022.58.08","DOIUrl":"https://doi.org/10.31249/litzhur/2022.58.08","url":null,"abstract":"","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"107 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":"131759445","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: 10.31249/litzhur/2021.54.01
Vitaliy Makhlin
Three things are investigated in the present article: first, the general situation in the so-called Bakhtin studies, East and West; secondly, a possible new approach to Bakhtin’ thinking in the context of the “non-Bakhtinian” ideological and scientific atmosphere after the end of the new times, or the Modernity; thirdly, some preliminary commentary is given to Bakhtin’s notion of authorship, or the “creating consciousness”. Consequently, the first part of the article is a discussion of the disparity between Bakhtin’s world-wide popularity and the general problematiicity of his “influence”. The second part is an attempt to investigate some possibility of “another beginning” in the humanities in general and in Bakhtin studies in particular. While a possibility of creative future, or the “new”, doesn’t seem to exist within the horizon of the present, it is not the present, then, but the creative past of the previous epochs is likely to hermeneutically produce possibilities to enrich our creative potential in the modus of “future-in-the-past”. The last part of the article demonstrates a possibility of “another beginning” elucidating Bakhtin’s concept of authorship as a “creating consciousness”. In the Bakhtinian thinking, a creating author, as well as an active person, is not so much existential or monological, but, rather, grotesque and dialogical. Authorship as the “creating consciousness”seems to overcome the ideal of autonomy typical for the Modernity by his alternative principle of the “autonomous participation or participating autonomy” in life, in art, and in science.
{"title":"“CREATING CONSCIOUSNESS”, OR MIKHAIL BAKHTIN BETWEEN PAST AND FUTURE","authors":"Vitaliy Makhlin","doi":"10.31249/litzhur/2021.54.01","DOIUrl":"https://doi.org/10.31249/litzhur/2021.54.01","url":null,"abstract":"Three things are investigated in the present article: first, the general situation in the so-called Bakhtin studies, East and West; secondly, a possible new approach to Bakhtin’ thinking in the context of the “non-Bakhtinian” ideological and scientific atmosphere after the end of the new times, or the Modernity; thirdly, some preliminary commentary is given to Bakhtin’s notion of authorship, or the “creating consciousness”. Consequently, the first part of the article is a discussion of the disparity between Bakhtin’s world-wide popularity and the general problematiicity of his “influence”. The second part is an attempt to investigate some possibility of “another beginning” in the humanities in general and in Bakhtin studies in particular. While a possibility of creative future, or the “new”, doesn’t seem to exist within the horizon of the present, it is not the present, then, but the creative past of the previous epochs is likely to hermeneutically produce possibilities to enrich our creative potential in the modus of “future-in-the-past”. The last part of the article demonstrates a possibility of “another beginning” elucidating Bakhtin’s concept of authorship as a “creating consciousness”. In the Bakhtinian thinking, a creating author, as well as an active person, is not so much existential or monological, but, rather, grotesque and dialogical. Authorship as the “creating consciousness”seems to overcome the ideal of autonomy typical for the Modernity by his alternative principle of the “autonomous participation or participating autonomy” in life, in art, and in science.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"1 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":"131888024","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: 10.31249/litzhur/2022.57.01
O. Osovskii
The article is devoted to the literary and human relations between two prominent figures in the literature of Russian emigre literature, M.I. Tsvetaeva and D.P. Svyatopolk-Mirsky. According to the author, an analysis of this relationship in the context of the history of literature, culture, ideology and politics of emigration adds the new details to the modern understanding Russia abroad as well as the literary biography functioning and “little time” (M.M. Bakhtin) working in writer and literary critic’ life. The author uses materials from the biographies of M. Tsvetaeva by M. Razumovskaya, V. Schweitzer and I. Kudrova, as well as the recently published biography of D. Svyatopolk-Mirsky by M. Yefimov and J. Smith. The author attempts to reconstruct the nature of the relationship between the poet and the critic, to add new details to the already existing picture in colour studies and to highlight the reasons for specific interpretations of this subject.
{"title":"MARINA TSVETAEVA IN THE BIOGRAPHY OF PRINCE D.P. SVYATOPOLK-MIRSKY","authors":"O. Osovskii","doi":"10.31249/litzhur/2022.57.01","DOIUrl":"https://doi.org/10.31249/litzhur/2022.57.01","url":null,"abstract":"The article is devoted to the literary and human relations between two prominent figures in the literature of Russian emigre literature, M.I. Tsvetaeva and D.P. Svyatopolk-Mirsky. According to the author, an analysis of this relationship in the context of the history of literature, culture, ideology and politics of emigration adds the new details to the modern understanding Russia abroad as well as the literary biography functioning and “little time” (M.M. Bakhtin) working in writer and literary critic’ life. The author uses materials from the biographies of M. Tsvetaeva by M. Razumovskaya, V. Schweitzer and I. Kudrova, as well as the recently published biography of D. Svyatopolk-Mirsky by M. Yefimov and J. Smith. The author attempts to reconstruct the nature of the relationship between the poet and the critic, to add new details to the already existing picture in colour studies and to highlight the reasons for specific interpretations of this subject.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"10 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":"114028784","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: 10.31249/litzhur/2021.53.06
S. Kibalnik
The article addresses the hypertexts of Flaubert in Chekhov’s works. The hypertextuality in Chekhov’s story Duel (1891) is connected with Flaubert’s novel Madame Bovary (1856), and is hybrid and optional. The story The Jumping Girl (1891) written shortly after, is already a fairly obvious hypertext of Flaubert’s novel: the scheme of the plot and the semantic of the original source is transformed to a much lesser extent. One more explicit hypertext of Flaubert’s A Simple Soul (1877) could be found in Chekhov’s late story Darling (1899). The article both describes and analyzes in all these texts (following R. Nazirov) a kind of “constructive crypto parody” which is not the parody on Flaubert’s works, but the polemical interpretation of them. Flaubert’s hypertexts in Chekhov’s prose bear a distinct imprint of the Russian classics with its “anti-individualistic” endency, on the one hand, and of Chekhov’s own artistic world based on overcoming Flaubert’s keen sense of the tragedy of life with sarcasm and laughter, on the other.
{"title":"FLAUBERT’S HYPERTEXTS IN CHEKHOV’ WORKS (ON THE CONCEPT OF “CONSTRUCTIVE CRYPTO-PARODY”)","authors":"S. Kibalnik","doi":"10.31249/litzhur/2021.53.06","DOIUrl":"https://doi.org/10.31249/litzhur/2021.53.06","url":null,"abstract":"The article addresses the hypertexts of Flaubert in Chekhov’s works. The hypertextuality in Chekhov’s story Duel (1891) is connected with Flaubert’s novel Madame Bovary (1856), and is hybrid and optional. The story The Jumping Girl (1891) written shortly after, is already a fairly obvious hypertext of Flaubert’s novel: the scheme of the plot and the semantic of the original source is transformed to a much lesser extent. One more explicit hypertext of Flaubert’s A Simple Soul (1877) could be found in Chekhov’s late story Darling (1899). The article both describes and analyzes in all these texts (following R. Nazirov) a kind of “constructive crypto parody” which is not the parody on Flaubert’s works, but the polemical interpretation of them. Flaubert’s hypertexts in Chekhov’s prose bear a distinct imprint of the Russian classics with its “anti-individualistic” endency, on the one hand, and of Chekhov’s own artistic world based on overcoming Flaubert’s keen sense of the tragedy of life with sarcasm and laughter, on the other.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"167 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":"115858848","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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