Textual analysis places great emphasis on determining the development and direction of authorial intention to illuminate a text’s layers of meaning. How, though, is one to determine the development of authorial intention in a text that appears to remove the traditional human author? This paper explores issues of authorship presented to genetic criticism (critique génétique) by algorithmically-produced texts – that is, texts produced through programmed logic in a computer rather than through direct human agency – such as those of the Twitter bot Pentametron (twitter.com/pentametron). This paper considers the perceived importance of authorship and human agency in the creation of a text. Algorithmic texts challenge contemporary notions of textual creation and development, in turn posing challenges to genetic criticism that are similar to those posed by cut-up texts in other media. This paper argues that Pentametron’s rather nonsensical algorithmic output stresses the reader’s responsibility for meaning-making, and suggests that such algorithmic texts are not so much final texts to be subjected to genetic critique themselves, but are more aptly considered to be forms of avant-texte. These avant-textes serve as inspiration for human-computer symbioses, for re-creations wherein readers make sense out of the seemingly senseless.
{"title":"Butterflies, Busy Weekends, and Chicken Salad: Genetic Criticism and the Output of @Pentametron","authors":"Leah Henrickson","doi":"10.21825/AJ.V7I1.8619","DOIUrl":"https://doi.org/10.21825/AJ.V7I1.8619","url":null,"abstract":"Textual analysis places great emphasis on determining the development and direction of authorial intention to illuminate a text’s layers of meaning. How, though, is one to determine the development of authorial intention in a text that appears to remove the traditional human author? This paper explores issues of authorship presented to genetic criticism (critique génétique) by algorithmically-produced texts – that is, texts produced through programmed logic in a computer rather than through direct human agency – such as those of the Twitter bot Pentametron (twitter.com/pentametron). This paper considers the perceived importance of authorship and human agency in the creation of a text. Algorithmic texts challenge contemporary notions of textual creation and development, in turn posing challenges to genetic criticism that are similar to those posed by cut-up texts in other media. This paper argues that Pentametron’s rather nonsensical algorithmic output stresses the reader’s responsibility for meaning-making, and suggests that such algorithmic texts are not so much final texts to be subjected to genetic critique themselves, but are more aptly considered to be forms of avant-texte. These avant-textes serve as inspiration for human-computer symbioses, for re-creations wherein readers make sense out of the seemingly senseless.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42070638","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}
An annotated listing of documented musical adaptations of works by Oscar Wilde, including detailed information on composers, lyricists, performances (venues and dates) where available.
奥斯卡王尔德作品的音乐改编的注释列表,包括作曲家,词作者,演出(场地和日期)的详细信息。
{"title":"Music for Wilde: An Annotated Listing of Musical Adaptations of Works by Oscar Wilde","authors":"Tine Englebert","doi":"10.21825/AJ.V7I1.8617","DOIUrl":"https://doi.org/10.21825/AJ.V7I1.8617","url":null,"abstract":"An annotated listing of documented musical adaptations of works by Oscar Wilde, including detailed information on composers, lyricists, performances (venues and dates) where available.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46170490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes a closer look at how the American author Tao Lin uses Twitter to perform his authorial identity. Twitter serves as a primary platform for Lin to shape and reshape the public images of him as an author. Lin’s Twitter presence operates as 140-character bursts of authorial self-presentation. The tweets he chooses to post combined with his views on Twitter as a presentational platform show that Lin is conscious of his identity performance, especially online. With this knowledge, he uses the language of Twitter to enact his authorial identity and influence the representations that circulate in the literary world, but he fell short because of the dominant role print media play in images of authorship. To counteract this and gain cultural legitimacy for his online identity in the literary world, Lin resorts to remediating his Twitter profiles into a fetishized print book. Lin’s coquettish relationship with Twitter shows his audience that the platform is more than a place to generate attention for oneself; it is a site for the continual reshaping of identity on a mass scale.
{"title":"Tweeting the Author: Tao Lin’s Performance of Authorial Identity on Twitter","authors":"Justin Greene","doi":"10.21825/AJ.V7I1.8618","DOIUrl":"https://doi.org/10.21825/AJ.V7I1.8618","url":null,"abstract":"This article takes a closer look at how the American author Tao Lin uses Twitter to perform his authorial identity. Twitter serves as a primary platform for Lin to shape and reshape the public images of him as an author. Lin’s Twitter presence operates as 140-character bursts of authorial self-presentation. The tweets he chooses to post combined with his views on Twitter as a presentational platform show that Lin is conscious of his identity performance, especially online. With this knowledge, he uses the language of Twitter to enact his authorial identity and influence the representations that circulate in the literary world, but he fell short because of the dominant role print media play in images of authorship. To counteract this and gain cultural legitimacy for his online identity in the literary world, Lin resorts to remediating his Twitter profiles into a fetishized print book. Lin’s coquettish relationship with Twitter shows his audience that the platform is more than a place to generate attention for oneself; it is a site for the continual reshaping of identity on a mass scale.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46457646","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}
{"title":"Robert R. Edwards, Invention and Authorship in Medieval England (Ohio State University Press, 2017)","authors":"Martin Laidlaw","doi":"10.21825/AJ.V7I1.8616","DOIUrl":"https://doi.org/10.21825/AJ.V7I1.8616","url":null,"abstract":"Robert R. Edwards, Invention and Authorship in Medieval England, Ohio State University Press, Columbus, 2017, 280 pp. $105.95.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46573928","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}
For twelve years the autobiographical character Marzi has been growing up through short comics stories in the Spirou magazine, created in Belgium and France by a French artist, Sylvain Savoia and a Polish writer, Marzena Sowa. Realized through collaboration, such an autobiography opens up a grey area for questions concerning authorship. It shatters the notion that autobiography in comics has to be the individual work of a 'complete' author. This article considers the reception of Marzi' s authorship through internal and external perspectives, starting with the publication context of the weekly Spirou and ending with close readings of the autobiographical work. In rendering complex the autobiographical equation suggested by literary scholar Philippe Lejeune, protagonist=narrator=author, the case of Marzi shows that fictive agents such as the 'mega-narrateur' and the author are, above all, activated during the reading of the work. Depuis douze ans, le personnage autobiographique Marzi grandit dans le journal de Spirou , au fil de brefs recits de bande dessinee realises en Belgique ou en France par un dessinateur francais, Sylvain Savoia, et une scenariste polonaise, Marzena Sowa. Une telle autobiographie, realisee en collaboration, constitue un cas limite pour les questions d’auctorialite, elle bouscule l’idee que l’autobiographie en BD doit etre l’œuvre solitaire d’un « auteur complet ». Cet article envisage la reception de l’auctorialite de Marzi de points de vue externes et internes, en partant du contexte de publication de l’hebdomadaire Spirou , pour aboutir a des microlectures de l’œuvre autobiographique. En complexifiant l’equation autobiographique posee par le poeticien Philippe Lejeune, heros = narrateur = auteur, le cas de Marzi montre que les instances fictives du mega-narrateur et de l’auteur constituent avant tout des faits de reception actives par l’œuvre.
12年来,自传体人物马尔齐一直在《斯皮鲁》杂志上的短篇漫画故事中成长,这些故事是由法国艺术家西尔万·萨瓦亚和波兰作家马尔泽纳·索瓦在比利时和法国创作的。这种自传是通过合作实现的,它为作者身份问题开辟了一个灰色地带。它打破了漫画中的自传必须是一个“完整”作者的个人作品的观念。本文从《斯皮鲁周刊》的出版语境开始,以对马尔齐自传体作品的细读结束,从内部和外部两个角度考察马尔齐的作者身份被接受的情况。文学学者菲利普·勒琼(Philippe Lejeune)提出了一个复杂的自传体方程,即主角=叙述者=作者。马尔齐的例子表明,像“超级叙述者”和作者这样的虚构主体,首先是在阅读作品的过程中被激活的。从douze ans, le personnage autobiographique Marzi grandit在《德时还是非盟费尔德brefs recits de邦德dessinee意识到在比利时,法国par un dessinateur法语,皱叶甘蓝,等一个scenariste波兰连衫裙,Marzena索。一个故事的自传,在合作中实现,构成了一个无限的限制,没有几个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题。这篇文章设想了《马尔齐的独裁者》的接受,《马尔齐的外部网络》的观点,《斯皮鲁的自传》的出版背景,以及《马尔齐的自传》的微观演讲。在菲利普·勒琼的自传中,主人公=叙述者=作者,马尔齐·蒙特尔的自传中,主人公的故事是虚构的,叙述者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的。
{"title":"L’auctorialité dans Marzi, une bande dessinée autobiographique en collaboration","authors":"Benoît Glaude","doi":"10.21825/AJ.V6I2.7699","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7699","url":null,"abstract":"For twelve years the autobiographical character Marzi has been growing up through short comics stories in the Spirou magazine, created in Belgium and France by a French artist, Sylvain Savoia and a Polish writer, Marzena Sowa. Realized through collaboration, such an autobiography opens up a grey area for questions concerning authorship. It shatters the notion that autobiography in comics has to be the individual work of a 'complete' author. This article considers the reception of Marzi' s authorship through internal and external perspectives, starting with the publication context of the weekly Spirou and ending with close readings of the autobiographical work. In rendering complex the autobiographical equation suggested by literary scholar Philippe Lejeune, protagonist=narrator=author, the case of Marzi shows that fictive agents such as the 'mega-narrateur' and the author are, above all, activated during the reading of the work. Depuis douze ans, le personnage autobiographique Marzi grandit dans le journal de Spirou , au fil de brefs recits de bande dessinee realises en Belgique ou en France par un dessinateur francais, Sylvain Savoia, et une scenariste polonaise, Marzena Sowa. Une telle autobiographie, realisee en collaboration, constitue un cas limite pour les questions d’auctorialite, elle bouscule l’idee que l’autobiographie en BD doit etre l’œuvre solitaire d’un « auteur complet ». Cet article envisage la reception de l’auctorialite de Marzi de points de vue externes et internes, en partant du contexte de publication de l’hebdomadaire Spirou , pour aboutir a des microlectures de l’œuvre autobiographique. En complexifiant l’equation autobiographique posee par le poeticien Philippe Lejeune, heros = narrateur = auteur, le cas de Marzi montre que les instances fictives du mega-narrateur et de l’auteur constituent avant tout des faits de reception actives par l’œuvre.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":"6 1","pages":"1"},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42040565","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}
Collaborative authorship in graphic medicine is examinable from a number of perspectives. One neglected approach is to look for developments in how an individual artist collaborates over the course of illustrating different graphic medicine novels. In the first, the artist collaborated with her younger self in trying to regain memories of an until then forgotten past. In the second, she worked closely with the writer to try to determine exactly what the author intended, adding a new dimension to the piece unavailable without the illustrations. In the third still to be completed work, her illustrations are based on collaboration with only the text and a few photographs, lacking direct contact with the author. How this artist’s three methods of collaboration have defined her collaborative authorship will be the focus. What is unique is this study will be undertaken from the stand point of the illustrator’s publisher, who is also her mother.
{"title":"A Narrative Approach to Authorship: The Work of Evi Tampold from Her Mother/Publisher’s (and Her Own) Perspective","authors":"Carol Nash, Evi Tampold","doi":"10.21825/AJ.V6I2.7766","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7766","url":null,"abstract":"Collaborative authorship in graphic medicine is examinable from a number of perspectives. One neglected approach is to look for developments in how an individual artist collaborates over the course of illustrating different graphic medicine novels. In the first, the artist collaborated with her younger self in trying to regain memories of an until then forgotten past. In the second, she worked closely with the writer to try to determine exactly what the author intended, adding a new dimension to the piece unavailable without the illustrations. In the third still to be completed work, her illustrations are based on collaboration with only the text and a few photographs, lacking direct contact with the author. How this artist’s three methods of collaboration have defined her collaborative authorship will be the focus. What is unique is this study will be undertaken from the stand point of the illustrator’s publisher, who is also her mother.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45828898","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}
A review of Gaston Franssen, Rick Honings (eds.), Idolizing Authorship: Literary Celebrity and the Construction of Identity, 1800 to the Present , Amsterdam University Press, Amsterdam, 2017, 282 pp. € 89.
{"title":"Gaston Franssen, Rick Honings (eds.), Idolizing Authorship: Literary Celebrity and the Construction of Identity, 1800 to the Present (Amsterdam University Press, 2017)","authors":"Zita Farkas","doi":"10.21825/AJ.V6I2.7010","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7010","url":null,"abstract":"A review of Gaston Franssen, Rick Honings (eds.), Idolizing Authorship: Literary Celebrity and the Construction of Identity, 1800 to the Present , Amsterdam University Press, Amsterdam, 2017, 282 pp. € 89.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43263777","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}
If media authorship can be understood "as a site of cultural tension" (Johnson and Gray 2013, 10), then a deeper understanding of comics authorship will also provide clues regarding the sustaining—and constraining— of creative practices in other media ecologies and intermedial interactions (such as, for instance, adaptations). For comics, this implies combining insights from comics scholars, practitioners as well as agents involved in the publication and dissemination of comics. This issue, building on the findings of extant scholarship on authorship in comics and other media, hopes to provide incentive for further adventures into the (almost) unknown of comics authorship.
如果媒体作者身份可以被理解为“文化紧张的场所”(Johnson and Gray 2013, 10),那么对漫画作者身份的更深入理解也将为其他媒体生态和中间互动(例如,改编)中创造性实践的维持和约束提供线索。对于漫画来说,这意味着结合漫画学者、从业者以及参与漫画出版和传播的代理人的见解。这一期,建立在现存的关于漫画和其他媒体作者身份的学术研究的基础上,希望为进一步探索(几乎)未知的漫画作者身份提供激励。
{"title":"Comics and Authorship: An Introduction","authors":"Maaheen Ahmed","doi":"10.21825/AJ.V6I2.7702","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7702","url":null,"abstract":"If media authorship can be understood \"as a site of cultural tension\" (Johnson and Gray 2013, 10), then a deeper understanding of comics authorship will also provide clues regarding the sustaining—and constraining— of creative practices in other media ecologies and intermedial interactions (such as, for instance, adaptations). For comics, this implies combining insights from comics scholars, practitioners as well as agents involved in the publication and dissemination of comics. This issue, building on the findings of extant scholarship on authorship in comics and other media, hopes to provide incentive for further adventures into the (almost) unknown of comics authorship.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48503348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines authorial performance in the context of DC’s Vertigo line. In the 1990s, Vertigo gained its reputation as an innovative and progressive imprint by promoting the work of British scriptwriters, who were hailed as true author figures, despite the inherently collaborative nature of the mainstream comics industry. In a manner reminiscent of “auteur theory”, writers such as Neil Gaiman, Warren Ellis or Grant Morrison developed attractive author personas which they consistently displayed through interviews, letter columns or social media, but also, more importantly, by inserting their avatars within the comics they scripted. Upon closer examination, however, it becomes clear that their work in fact simultaneously asserts and destabilizes writerly authority, in a manner that is consistent with Linda Hutcheon’s view of postmodernity. By multiplying author figures and playfully disseminating authority, Vertigo authors question their own authorial control over the text, asserting instead the crucial role played by the reader.
{"title":"Ambiguous Authorities: Vertigo and the Auteur Figure","authors":"Isabelle Licari-Guillaume","doi":"10.21825/AJ.V6I2.7700","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7700","url":null,"abstract":"This article examines authorial performance in the context of DC’s Vertigo line. In the 1990s, Vertigo gained its reputation as an innovative and progressive imprint by promoting the work of British scriptwriters, who were hailed as true author figures, despite the inherently collaborative nature of the mainstream comics industry. In a manner reminiscent of “auteur theory”, writers such as Neil Gaiman, Warren Ellis or Grant Morrison developed attractive author personas which they consistently displayed through interviews, letter columns or social media, but also, more importantly, by inserting their avatars within the comics they scripted. Upon closer examination, however, it becomes clear that their work in fact simultaneously asserts and destabilizes writerly authority, in a manner that is consistent with Linda Hutcheon’s view of postmodernity. By multiplying author figures and playfully disseminating authority, Vertigo authors question their own authorial control over the text, asserting instead the crucial role played by the reader.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41649981","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}
Paul Cornell’s work for the ‘Big Two’ U.S. comic publishers transfers a distinctly British (mostly English) sensibility into a field where cues normally revolve around American cultural iconography and values. The key to his authorship is Cornell’s homespun method. Unlike the efforts of Marvel’s UK wing in the 1970s and '80s - transplanting American characters into a postcard-like Britain - his approach explores a British dimension of the Marvel Universe that offers a challenge to the codes of that realm. Whether working with established heroes such as Captain Britain, twists on archetypes like Knight and Squire (English analogues of Batman and Robin), or superheroic ‘big guns’ like Wolverine, Cornell writes against tired, automatic canonicity. This paper mainly focuses on the directly British representations in the Cornell titles Captain Britain and MI-13 (2008-9) and Knight and Squire (2010).
{"title":"“Things are Complicated”: Paul Cornell at Marvel and DC","authors":"M. Flanagan","doi":"10.21825/AJ.V6I2.7701","DOIUrl":"https://doi.org/10.21825/AJ.V6I2.7701","url":null,"abstract":"Paul Cornell’s work for the ‘Big Two’ U.S. comic publishers transfers a distinctly British (mostly English) sensibility into a field where cues normally revolve around American cultural iconography and values. The key to his authorship is Cornell’s homespun method. Unlike the efforts of Marvel’s UK wing in the 1970s and '80s - transplanting American characters into a postcard-like Britain - his approach explores a British dimension of the Marvel Universe that offers a challenge to the codes of that realm. Whether working with established heroes such as Captain Britain, twists on archetypes like Knight and Squire (English analogues of Batman and Robin), or superheroic ‘big guns’ like Wolverine, Cornell writes against tired, automatic canonicity. This paper mainly focuses on the directly British representations in the Cornell titles Captain Britain and MI-13 (2008-9) and Knight and Squire (2010).","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47808605","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}