Pub Date : 2021-11-16DOI: 10.7358/ling-2021-002-cerb
Anna Cerboni Baiardi
The history of artistic forgery boasts rather old origins and numerous facets. On this occasion, some emblematic cases between the Cinquecento and the present day (from the Sleeping Cupid of Michelangelo to the ‘Modiglianis’ that hit the headlines only some decades ago) will be taken into account, along with the activity of some great forgers who lived between the nineteenth and twentieth centuries. Gifted with notable technical ability and virtuosic stylistic “mobility”, some of these realized true masterpieces in meeting the requests of a growing market of Italian and foreign collectors. Above all others, one should mention the names of Egisto Rossi (1824-1899), falsifier of Old Masters’ drawings, and that of Icilio Federico Joni (nicknamed Paicap; 1866-1946), who specialized in counterfeiting fondo oro paintings by the Sienese School and was the leader of the city’s forgers.
{"title":"Tra virtuosismo e truffa: l’arte del falsario","authors":"Anna Cerboni Baiardi","doi":"10.7358/ling-2021-002-cerb","DOIUrl":"https://doi.org/10.7358/ling-2021-002-cerb","url":null,"abstract":"The history of artistic forgery boasts rather old origins and numerous facets. On this occasion, some emblematic cases between the Cinquecento and the present day (from the Sleeping Cupid of Michelangelo to the ‘Modiglianis’ that hit the headlines only some decades ago) will be taken into account, along with the activity of some great forgers who lived between the nineteenth and twentieth centuries. Gifted with notable technical ability and virtuosic stylistic “mobility”, some of these realized true masterpieces in meeting the requests of a growing market of Italian and foreign collectors. Above all others, one should mention the names of Egisto Rossi (1824-1899), falsifier of Old Masters’ drawings, and that of Icilio Federico Joni (nicknamed Paicap; 1866-1946), who specialized in counterfeiting fondo oro paintings by the Sienese School and was the leader of the city’s forgers.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"2011 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127355638","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 : 2021-11-16DOI: 10.7358/ling-2021-002-gian
Emilio Gianotti
Douglas Adams, in his Dirk Gently series, presents his protagonist as a “holistic detective”. Following in the tradition of Sherlock Holmes, the detective bases his claims on scientific evidence and always succeeds in his enquiries. However, the mechanics of his comically random detecting behavior clash with the conclusiveness of the plot, casting doubt on the control of the protagonist over his method. A study of these mechanics as inherently computer-like elicits an interplay between the openness of a holistic postmodern pastiche and the reassuring closure granted by the appeal to science. An analysis of these core concepts, and of the influence of the New Atheist movement on the author, leads to an underlining of the satiric elements of the series. As satires of religion, these novels attack false systems of belief in favor of an enjoyment of uncertainty that waits for the answers of science.
{"title":"Dirk ex Machina: Douglas Adams’ Saga and Holistic Detection as Religious Satire","authors":"Emilio Gianotti","doi":"10.7358/ling-2021-002-gian","DOIUrl":"https://doi.org/10.7358/ling-2021-002-gian","url":null,"abstract":"Douglas Adams, in his Dirk Gently series, presents his protagonist as a “holistic detective”. Following in the tradition of Sherlock Holmes, the detective bases his claims on scientific evidence and always succeeds in his enquiries. However, the mechanics of his comically random detecting behavior clash with the conclusiveness of the plot, casting doubt on the control of the protagonist over his method. A study of these mechanics as inherently computer-like elicits an interplay between the openness of a holistic postmodern pastiche and the reassuring closure granted by the appeal to science. An analysis of these core concepts, and of the influence of the New Atheist movement on the author, leads to an underlining of the satiric elements of the series. As satires of religion, these novels attack false systems of belief in favor of an enjoyment of uncertainty that waits for the answers of science.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116478858","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 : 2021-11-16DOI: 10.7358/ling-2021-002-bevi
Aoife Beville
Lying is part of our life and part of our literary canon, the choice to lie, not lie or almost lie is both a moral and linguistic one. In the present paper lying, and related concepts such as deliberate obfuscation and deceptive implicatures, will be examined from a pragmatic, specifically neo-Gricean perspective. The purpose of this study is to determine the role of deception in the process of characterisation, with a particular focus on the form and function of the mendacious language of Paroles, the “infinite and endless liar” in All’s Well That Ends Well. Following the analysis of current pragmatic definitions of lying, this article proposes a distinction between Off-Record Verbal Deception (ORVD) and prototypical lies in the analysis of textual examples, in order to understand how these strategic linguistic choices affect the construction of character.
{"title":"“An Infinite and Endless Liar”: Paroles as a Case Study of the Pragmatics of Lying in Shakespeare","authors":"Aoife Beville","doi":"10.7358/ling-2021-002-bevi","DOIUrl":"https://doi.org/10.7358/ling-2021-002-bevi","url":null,"abstract":"Lying is part of our life and part of our literary canon, the choice to lie, not lie or almost lie is both a moral and linguistic one. In the present paper lying, and related concepts such as deliberate obfuscation and deceptive implicatures, will be examined from a pragmatic, specifically neo-Gricean perspective. The purpose of this study is to determine the role of deception in the process of characterisation, with a particular focus on the form and function of the mendacious language of Paroles, the “infinite and endless liar” in All’s Well That Ends Well. Following the analysis of current pragmatic definitions of lying, this article proposes a distinction between Off-Record Verbal Deception (ORVD) and prototypical lies in the analysis of textual examples, in order to understand how these strategic linguistic choices affect the construction of character.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125078377","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 : 2021-11-16DOI: 10.7358/ling-2021-002-cala
A. Calanchi
Over the course of time, people have been told many lies concerning the Red Planet. Maybe the most renowned one dates back to the late 1880s, when, owing to an error in translation, scientists were led to believe in the existence of canals on its surface – canals instead of channels – which meant that Mars must be inhabited. More recently, in 1976, a lively discussion arose about the “face on Mars”, something that was spotted by the Viking 2 spacecraft in the region of Cydonia and was later dismissed as a mesa whose unusual shadows had cheated the eye. But the biggest lie of all was told in 1938, when a young actor (Orson Welles) decided to play a Halloween trick with the help of the then-rising medium – the radio. It was not really a lie in the strictest sense of the term. It was not a hoax or a fake, either – it was, in narratological terms, what is commonly called the suspension of disbelief pushed to its extreme. In this essay I am going to reconsider this event mainly in the light of two main conditions concerning lying, namely untruthfulness and the intention to deceive. Our specific case is further complicated by a third factor, that is the fact that somebody lies to someone who is believed to be listening in but who is not being addressed. I will also highlight the aftermath of this mass deception which, despite being followed by a number of disclaimers, actually overturned the utopian portrait of Martians, initiating a long literary and filmic theory of alien invasions.
{"title":"Lies from Outer Space: The Martians’ Famous Invasion of New Jersey","authors":"A. Calanchi","doi":"10.7358/ling-2021-002-cala","DOIUrl":"https://doi.org/10.7358/ling-2021-002-cala","url":null,"abstract":"Over the course of time, people have been told many lies concerning the Red Planet. Maybe the most renowned one dates back to the late 1880s, when, owing to an error in translation, scientists were led to believe in the existence of canals on its surface – canals instead of channels – which meant that Mars must be inhabited. More recently, in 1976, a lively discussion arose about the “face on Mars”, something that was spotted by the Viking 2 spacecraft in the region of Cydonia and was later dismissed as a mesa whose unusual shadows had cheated the eye. But the biggest lie of all was told in 1938, when a young actor (Orson Welles) decided to play a Halloween trick with the help of the then-rising medium – the radio. It was not really a lie in the strictest sense of the term. It was not a hoax or a fake, either – it was, in narratological terms, what is commonly called the suspension of disbelief pushed to its extreme. In this essay I am going to reconsider this event mainly in the light of two main conditions concerning lying, namely untruthfulness and the intention to deceive. Our specific case is further complicated by a third factor, that is the fact that somebody lies to someone who is believed to be listening in but who is not being addressed. I will also highlight the aftermath of this mass deception which, despite being followed by a number of disclaimers, actually overturned the utopian portrait of Martians, initiating a long literary and filmic theory of alien invasions.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"2022 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121084830","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 : 2021-11-16DOI: 10.7358/ling-2021-002-acqu
E. Acquarini
Truth and lies share an element of (in)authenticity that is the affect of associated cognition. Such elements can interfere with relationships and assist – or jeopardize – the individual development path. A lie often veils a reality made of horribly empty spaces which are only inhabited by conflicts caused by the imperfect functioning of that very reality. Identity development may be affected by compliance with ancient masks that are not accessible to subjects – as these masks are not the subjects’ own, but are based on the experiences of the people who preceded them in their family history. These mechanisms often have a traumatic motivation, which apparently remains unprocessed because of a lack of mobilization of the necessary psychic resources. In the transgenerational transmission of family histories, the characteristics of unthinkability and untoldness of the historical-narrative foundations that have come to constitute a lie can generate reflections which are impermeable to historical objectivity. This could be the basis of existential possibilities and psychopathological vulnerabilities.
{"title":"Riflesso della menzogna nella transgenerazionalità","authors":"E. Acquarini","doi":"10.7358/ling-2021-002-acqu","DOIUrl":"https://doi.org/10.7358/ling-2021-002-acqu","url":null,"abstract":"Truth and lies share an element of (in)authenticity that is the affect of associated cognition. Such elements can interfere with relationships and assist – or jeopardize – the individual development path. A lie often veils a reality made of horribly empty spaces which are only inhabited by conflicts caused by the imperfect functioning of that very reality. Identity development may be affected by compliance with ancient masks that are not accessible to subjects – as these masks are not the subjects’ own, but are based on the experiences of the people who preceded them in their family history. These mechanisms often have a traumatic motivation, which apparently remains unprocessed because of a lack of mobilization of the necessary psychic resources. In the transgenerational transmission of family histories, the characteristics of unthinkability and untoldness of the historical-narrative foundations that have come to constitute a lie can generate reflections which are impermeable to historical objectivity. This could be the basis of existential possibilities and psychopathological vulnerabilities.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130870331","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 : 2021-11-16DOI: 10.7358/ling-2021-002-punz
Arianna Punzi
This article analyzes the structural relationship between falsehood and truth within Dante’s Comedy. The centrality of this relationship is also numerical: it recurs in all three parts of the work, and in each one of them it occupies the central section, with the ostensible purpose of placing Dante’s poetic voice at the very heart of everything, as a harbinger of truth.
{"title":"Attraverso la frode: la Commedia come conquista della verità della parola","authors":"Arianna Punzi","doi":"10.7358/ling-2021-002-punz","DOIUrl":"https://doi.org/10.7358/ling-2021-002-punz","url":null,"abstract":"This article analyzes the structural relationship between falsehood and truth within Dante’s Comedy. The centrality of this relationship is also numerical: it recurs in all three parts of the work, and in each one of them it occupies the central section, with the ostensible purpose of placing Dante’s poetic voice at the very heart of everything, as a harbinger of truth.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128748388","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 : 2021-11-16DOI: 10.7358/ling-2021-002-dica
Alessandro Di Caro
The liar paradox is an ancient logical paradox (revisited by modern thinkers) which links truth with falsehood and falsehood with truth, and is based on a self-referential mechanism. It has been discussed by a variety of authors, from Aristotle to Bateson. The solution to that paradox, however, can be found by having recourse to Ludwig Wittgenstein’s philosophy, and by, so to speak, getting out of language (because true and false are words which belong to our language) to attain reality. This can be expressed through Wittgenstein’s idea that no proposition can say of itself whether it is true or false. However, experience is also expressible in words – and one can think of propositions which cannot be confirmed or disproved according to experience. Studying the paradox, therefore, leads one to Gödel’s theorem which offers a mathematical demonstration of the existence of undecidable propositions.
{"title":"Il paradosso del mentitore","authors":"Alessandro Di Caro","doi":"10.7358/ling-2021-002-dica","DOIUrl":"https://doi.org/10.7358/ling-2021-002-dica","url":null,"abstract":"The liar paradox is an ancient logical paradox (revisited by modern thinkers) which links truth with falsehood and falsehood with truth, and is based on a self-referential mechanism. It has been discussed by a variety of authors, from Aristotle to Bateson. The solution to that paradox, however, can be found by having recourse to Ludwig Wittgenstein’s philosophy, and by, so to speak, getting out of language (because true and false are words which belong to our language) to attain reality. This can be expressed through Wittgenstein’s idea that no proposition can say of itself whether it is true or false. However, experience is also expressible in words – and one can think of propositions which cannot be confirmed or disproved according to experience. Studying the paradox, therefore, leads one to Gödel’s theorem which offers a mathematical demonstration of the existence of undecidable propositions.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128241090","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 : 2021-11-16DOI: 10.7358/ling-2021-002-piva
S. Pivato
“Telling fables” has never ceased to exert a fascination on the world of Italian politics. On the pages of Il manifesto, Luigi Pintor repeatedly nicknamed Massimo D’Alema “Maximum Fox”. Others have identified Giorgio Napolitano with Mastro Cherry (Mastro Ciliegia) and Renzi with Pinocchio himself. These parallels have their origin in the early decades of the twentieth century, when children’s literature and young adult fiction were assigned a primary role in the project of enrolling young people in the ranks of the nation. Since then, “telling fables” has become a synonym for “telling lies” – and in this context, Pinocchio’s name is generally used as a substitute for “liar”. The cat and the fox have found their real-life counterparts in various well-known pairs of Italian politicians, starting with Nenni and Togliatti. In more recent times, Andreotti was often identified as the foxiest of foxes, and was paired, in different periods, with the various cats he encountered in the course of his long political career.
{"title":"Pinocchio, metafora della politica italiana","authors":"S. Pivato","doi":"10.7358/ling-2021-002-piva","DOIUrl":"https://doi.org/10.7358/ling-2021-002-piva","url":null,"abstract":"“Telling fables” has never ceased to exert a fascination on the world of Italian politics. On the pages of Il manifesto, Luigi Pintor repeatedly nicknamed Massimo D’Alema “Maximum Fox”. Others have identified Giorgio Napolitano with Mastro Cherry (Mastro Ciliegia) and Renzi with Pinocchio himself. These parallels have their origin in the early decades of the twentieth century, when children’s literature and young adult fiction were assigned a primary role in the project of enrolling young people in the ranks of the nation. Since then, “telling fables” has become a synonym for “telling lies” – and in this context, Pinocchio’s name is generally used as a substitute for “liar”. The cat and the fox have found their real-life counterparts in various well-known pairs of Italian politicians, starting with Nenni and Togliatti. In more recent times, Andreotti was often identified as the foxiest of foxes, and was paired, in different periods, with the various cats he encountered in the course of his long political career.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128857170","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 : 2021-11-16DOI: 10.7358/ling-2021-002-moli
A. Molinari
What happens when we lie? What do we lie for? Are we always aware of it? Can we define its nature once and for all? Since the beginning of history, human beings have tried to define and interpret lying according to criteria provided to them by changing cultural environments and worldviews, so to give this phenomenon a definite place in their existence. All domains of human knowledge – from mythmaking to philosophy, from theology to neuroscience, from art to linguistics – have been involved. This special issue of Linguæ & aims to contribute to this multi- and interdisciplinary discourse by proposing a common core of insights on lying through contributions from the humanities and psychology.
{"title":"Introduction: On Lying","authors":"A. Molinari","doi":"10.7358/ling-2021-002-moli","DOIUrl":"https://doi.org/10.7358/ling-2021-002-moli","url":null,"abstract":"What happens when we lie? What do we lie for? Are we always aware of it? Can we define its nature once and for all? Since the beginning of history, human beings have tried to define and interpret lying according to criteria provided to them by changing cultural environments and worldviews, so to give this phenomenon a definite place in their existence. All domains of human knowledge – from mythmaking to philosophy, from theology to neuroscience, from art to linguistics – have been involved. This special issue of Linguæ & aims to contribute to this multi- and interdisciplinary discourse by proposing a common core of insights on lying through contributions from the humanities and psychology.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125524235","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 : 2021-07-15DOI: 10.7358/LING-2021-001-REIN
Jelena U. Reinhardt
Kokoschka’s first literary work The Dreaming Youths (Die träumenden Knaben) was published in 1908. The work includes a poem with eight colored and two black and white lithographs. Although the young artist was commissioned by the Wiener Werkstätte to make a children’s picture book, the end result seemed quite different: a sort of personal tale of self-discovery and sexual awakening during puberty placed in a dream scenario. Kokoschka himself remembers in his autobiography only following the task in the first lithograph. The aim of this paper is to show how Kokoschka actually continued to draw on the language of fairy tales, although apparently taking distance from it. The crucial role of children’s literature in adult life emerges especially within the process of shaping childhood memories and approaching traumatic experiences. The use of fairy tales becomes, therefore, an autobiographical urge and a means to tell personal experience through a universal language.
{"title":"The Hidden Fairy Tale: Oskar Kokoschka’s Die träumenden Knaben","authors":"Jelena U. Reinhardt","doi":"10.7358/LING-2021-001-REIN","DOIUrl":"https://doi.org/10.7358/LING-2021-001-REIN","url":null,"abstract":"Kokoschka’s first literary work The Dreaming Youths (Die träumenden Knaben) was published in 1908. The work includes a poem with eight colored and two black and white lithographs. Although the young artist was commissioned by the Wiener Werkstätte to make a children’s picture book, the end result seemed quite different: a sort of personal tale of self-discovery and sexual awakening during puberty placed in a dream scenario. Kokoschka himself remembers in his autobiography only following the task in the first lithograph. The aim of this paper is to show how Kokoschka actually continued to draw on the language of fairy tales, although apparently taking distance from it. The crucial role of children’s literature in adult life emerges especially within the process of shaping childhood memories and approaching traumatic experiences. The use of fairy tales becomes, therefore, an autobiographical urge and a means to tell personal experience through a universal language.","PeriodicalId":302041,"journal":{"name":"Linguæ & - Rivista di lingue e culture moderne","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115281640","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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