Pub Date : 2022-03-30DOI: 10.14746/trop.2022.491.003
Marta Kobiela-Kwaśniewska
The paper is an attempt at shedding light on the issues related to the dystopian vision of postmodern society metonymically represented by Vado, an imaginary city, in the novel Un incendio invisible written by Sara Mesa. This abandoned urban space causes us to reflect on crucial topics in postmodern society, such as incorporation into unknown place, redefinition of the concept of parenthood, liquid and perverse love, social inequalities, abandoned elders, consumption, role of shopping malls and their significance, human alienation, all phenomena that we find in the novel. The city of Vado plays symbolic role in that piece, hence its devastation and ruin show a close connection with the consumer society and the actions of Homo consumericus. We base our analysis on the philosophical and sociological postulates of Gilles Lipovetsky, Zygmunt Bauman, Erich Fromm and anthropological one of Marc Augé, as well as on the proposal of how to read a novel by Javier del Prado Biezma in order to describe the nature of all these mentioned problems and expose the criticism of Homo consumericus concealed in the novel.
本文试图揭示萨拉·梅萨的小说《看不见的燃烧》中以想象中的城市瓦多为转喻代表的后现代社会反乌托邦视野的相关问题。这种被遗弃的城市空间让我们反思后现代社会中的关键话题，比如融入未知的地方，重新定义为人父母的概念，流动而反常的爱，社会不平等，被遗弃的老人，消费，购物中心的作用及其意义，人的异化，所有我们在小说中发现的现象。瓦多城在这部作品中扮演着象征性的角色，因此它的破坏和毁灭与消费社会和消费人的行为有着密切的联系。我们的分析基于Gilles Lipovetsky、Zygmunt Bauman、Erich Fromm和Marc Augé的人类学假设，以及Javier del Prado Biezma关于如何阅读小说的建议，以描述所有这些问题的本质，并揭露小说中隐藏的对消费人的批评。
{"title":"Un incendio invisible de Sara Mesa como una crítica implícita al «Homo consumericus»","authors":"Marta Kobiela-Kwaśniewska","doi":"10.14746/trop.2022.491.003","DOIUrl":"https://doi.org/10.14746/trop.2022.491.003","url":null,"abstract":"The paper is an attempt at shedding light on the issues related to the dystopian vision of postmodern society metonymically represented by Vado, an imaginary city, in the novel Un incendio invisible written by Sara Mesa. This abandoned urban space causes us to reflect on crucial topics in postmodern society, such as incorporation into unknown place, redefinition of the concept of parenthood, liquid and perverse love, social inequalities, abandoned elders, consumption, role of shopping malls and their significance, human alienation, all phenomena that we find in the novel. The city of Vado plays symbolic role in that piece, hence its devastation and ruin show a close connection with the consumer society and the actions of Homo consumericus. We base our analysis on the philosophical and sociological postulates of Gilles Lipovetsky, Zygmunt Bauman, Erich Fromm and anthropological one of Marc Augé, as well as on the proposal of how to read a novel by Javier del Prado Biezma in order to describe the nature of all these mentioned problems and expose the criticism of Homo consumericus concealed in the novel.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44885443","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 : 2022-03-30DOI: 10.14746/strop.2022.491.006
Christian Claesson
{"title":"David Becerra Mayor, Después del acontecimiento: el retorno de lo político en la literatura Española tras el 15-m. Bellaterra Edicions, 2021.173 pp.","authors":"Christian Claesson","doi":"10.14746/strop.2022.491.006","DOIUrl":"https://doi.org/10.14746/strop.2022.491.006","url":null,"abstract":"","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46918056","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 : 2022-03-30DOI: 10.14746/strop.2022.491.001
Barbara Curzytek
The article analyses the representation of Medellín in Fernando Vallejo’s 2013 novel Casablanca la bella in the context of Zygmunt Bauman’s liquid modernity concept and other cultural theories of the urban, which can be applied to Colombia in the context of omnipresence of violence. The analysis proves that the narrator-protagonist, disappointed with the modernity in Colombian context, is incapable of accepting the changes that the city as well as the country have suffered during his life and uses the descriptions of the urban space for social criticism. The conclusion is that the narrator-protagonist obsessively tries to re-actualize the past and persists in linking to it as he does not see any point of reference in the present nor any positive perspective for Colombia in a foreseeable future.
本文分析了Fernando Vallejo在2013年的小说《Casablanca la bella》中的Medellín在Zygmunt Bauman的流动现代性概念和其他城市文化理论的背景下的表现，这些理论可以应用于暴力无处不在的哥伦比亚。分析证明，叙述者-主人公对哥伦比亚语境中的现代性感到失望，无法接受城市和国家在他的一生中所经历的变化，并将城市空间的描述用于社会批判。结论是，叙述者-主角痴迷地试图重新实现过去，并坚持与过去联系在一起，因为他在现在看不到任何参考点，也看不到哥伦比亚在可预见的未来有任何积极的前景。
{"title":"Medellín como una representación de la decadencia de Colombia en Casablanca la bella de Fernando Vallejo","authors":"Barbara Curzytek","doi":"10.14746/strop.2022.491.001","DOIUrl":"https://doi.org/10.14746/strop.2022.491.001","url":null,"abstract":"The article analyses the representation of Medellín in Fernando Vallejo’s 2013 novel Casablanca la bella in the context of Zygmunt Bauman’s liquid modernity concept and other cultural theories of the urban, which can be applied to Colombia in the context of omnipresence of violence. The analysis proves that the narrator-protagonist, disappointed with the modernity in Colombian context, is incapable of accepting the changes that the city as well as the country have suffered during his life and uses the descriptions of the urban space for social criticism. The conclusion is that the narrator-protagonist obsessively tries to re-actualize the past and persists in linking to it as he does not see any point of reference in the present nor any positive perspective for Colombia in a foreseeable future.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48930913","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 : 2022-03-30DOI: 10.14746/strop.2022.491.004
Magda Potok
In so-called “crisis novels” that appeared in Spain following the economic collapse of 2008, the city comes to represent not only the scene of the explicit dramatic situations of the characters (poverty, precarity, unemployment, evictions, homelessness, occupy movement, street protests, or gaps in social services) but also the imagery of decay and conflict. The city comes across as an uncomfortable space, characterised by inhospitable peripheries and abandoned constructions, which is consonant with the sense of helplessness and extreme loneliness of the protagonists. However, in contrast to the paralysis and the nervous breakdown evident in La trabajadora (2014) by Elvira Navarro (alienating perspective), Cristina Morales’s Lectura fácil (2018) represents the urban space as a battlefield that leads to the awareness-raising and the politicization of the experience of a crisis (revolutionary perspective). Both novels, focused on “the right to housing”, come to reveal a great deal of indignation and protest against the neo-liberal policies and the contemporary capitalist city, responsible for exclusion and inequality. Their demands coincide with the political proposal of “the right to the city” (Lefebvre, 1968; Harvey 2013), which raises the possibility of living a worthy life in the city, with an equitable distribution of resources and respect for different sensitivities.
{"title":"Pensar a través de la ciudad: La trabajadora de Elvira Navarro y Lectura fácil de Cristina Morales","authors":"Magda Potok","doi":"10.14746/strop.2022.491.004","DOIUrl":"https://doi.org/10.14746/strop.2022.491.004","url":null,"abstract":"In so-called “crisis novels” that appeared in Spain following the economic collapse of 2008, the city comes to represent not only the scene of the explicit dramatic situations of the characters (poverty, precarity, unemployment, evictions, homelessness, occupy movement, street protests, or gaps in social services) but also the imagery of decay and conflict. The city comes across as an uncomfortable space, characterised by inhospitable peripheries and abandoned constructions, which is consonant with the sense of helplessness and extreme loneliness of the protagonists. However, in contrast to the paralysis and the nervous breakdown evident in La trabajadora (2014) by Elvira Navarro (alienating perspective), Cristina Morales’s Lectura fácil (2018) represents the urban space as a battlefield that leads to the awareness-raising and the politicization of the experience of a crisis (revolutionary perspective). Both novels, focused on “the right to housing”, come to reveal a great deal of indignation and protest against the neo-liberal policies and the contemporary capitalist city, responsible for exclusion and inequality. Their demands coincide with the political proposal of “the right to the city” (Lefebvre, 1968; Harvey 2013), which raises the possibility of living a worthy life in the city, with an equitable distribution of resources and respect for different sensitivities.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46738209","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 : 2022-03-30DOI: 10.14746/strop.2022.491.007
Raquel Mosqueda Rivera
{"title":"Ana Laura Zavala Díaz, Cuerpo, enfermedad y escritura. Narrativa Mexicana del Porfiriato. Universidad Nacional Autónoma de México/Instituto de Investigaciones Filológicas, 2021. 246 pp.","authors":"Raquel Mosqueda Rivera","doi":"10.14746/strop.2022.491.007","DOIUrl":"https://doi.org/10.14746/strop.2022.491.007","url":null,"abstract":"","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45520265","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 : 2022-03-15DOI: 10.14746/strop.2022.491.005
Łukasz Smuga
This paper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.aper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.
{"title":"Entre la distopía y la heterotopía: espacios de la crisis en las novelas de Isaac Rosa","authors":"Łukasz Smuga","doi":"10.14746/strop.2022.491.005","DOIUrl":"https://doi.org/10.14746/strop.2022.491.005","url":null,"abstract":"This paper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.aper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43668852","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 : 2021-12-22DOI: 10.14746/strop.2021.484.012
E. Skibińska
The front cover of a book usually contains the title, the authors’names, the publisher’s logo and an illustration. All these elements announce the content of the book, and the paraverbal elements (illustration, typographical arrangement…) can also be used to awaken the curiosity of the potential reader. This article deals with the reproductions of art works chosen by the editors for the front covers of Translation Studies books. Cover illustrations are treated here as a kind of “definition of translator’s work through a pictorial metaphor”, i.e. as a representation of how translation can be understood or as an indication of its important features. The analysis of these illustrations shows the various means used by the publishers of Translation Studies books to define translation through pictures.
{"title":"Le traducteur et son image. Étude des couvertures d’ouvrages de traductologie","authors":"E. Skibińska","doi":"10.14746/strop.2021.484.012","DOIUrl":"https://doi.org/10.14746/strop.2021.484.012","url":null,"abstract":"The front cover of a book usually contains the title, the authors’names, the publisher’s logo and an illustration. All these elements announce the content of the book, and the paraverbal elements (illustration, typographical arrangement…) can also be used to awaken the curiosity of the potential reader. This article deals with the reproductions of art works chosen by the editors for the front covers of Translation Studies books. Cover illustrations are treated here as a kind of “definition of translator’s work through a pictorial metaphor”, i.e. as a representation of how translation can be understood or as an indication of its important features. The analysis of these illustrations shows the various means used by the publishers of Translation Studies books to define translation through pictures.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47436322","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 : 2021-12-22DOI: 10.14746/strop.2021.484.006
Anna Wendorff
The article addresses the problem of intersemiotic translation: translating images into words. The first part deals with the issue of image hermeneutics. Following this, eye tracking research is briefly described and museum audio description for the blind and visually impaired is introduced. A case study of Self-portrait of Dora Maar is carried out, highlighting the importance of sight in the artist’s work. The text tries to answer the following questions: Who and using which techniques and strategies should translate images into words for recipients with visual disabilities, so that the translation is satisfactory and adapted to their perception? How to provide a visually impaired person with an aesthetic experience without imposing our own perception of the image on them?
{"title":"Audiodescription des arts plastiques. Autoportrait de Dora Maar","authors":"Anna Wendorff","doi":"10.14746/strop.2021.484.006","DOIUrl":"https://doi.org/10.14746/strop.2021.484.006","url":null,"abstract":"The article addresses the problem of intersemiotic translation: translating images into words. The first part deals with the issue of image hermeneutics. Following this, eye tracking research is briefly described and museum audio description for the blind and visually impaired is introduced. A case study of Self-portrait of Dora Maar is carried out, highlighting the importance of sight in the artist’s work. The text tries to answer the following questions: Who and using which techniques and strategies should translate images into words for recipients with visual disabilities, so that the translation is satisfactory and adapted to their perception? How to provide a visually impaired person with an aesthetic experience without imposing our own perception of the image on them?","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43906018","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 : 2021-12-22DOI: 10.14746/strop.2021.484.010
Sophie Léchauguette
Many books designed for international distribution combine text blocks and images. Their layout offers hybrid messages organized on the visual space of a double page. Texts both in the original language and in translation must fit into limited spaces or boxes positioned around illustrations. Thus, translators practice multimodal translation, writing texts that preserve or enhance the cohesion between visual and textual messages. This skill requires some training. Unfortunately, while theoretical writings on pragmatic translation acknowledge its intersemiotic nature, few training programs address this aspect. The creation of a course on multimodal translation would be a valued addition to any translator training program. The concept of a hybrid translation unit offers a way of structuring material to introduce both intersemiotic and multimodal translation in professional curricula. The author draws on her professional experience to discuss the role of illustrations in grasping meaning through practical examples. She suggests generalizable translation strategies to strengthen text-image cohesion, or even generate text from images alone, while adapting the book in translation to its intended readership.
{"title":"Former à la traduction multimodale","authors":"Sophie Léchauguette","doi":"10.14746/strop.2021.484.010","DOIUrl":"https://doi.org/10.14746/strop.2021.484.010","url":null,"abstract":"Many books designed for international distribution combine text blocks and images. Their layout offers hybrid messages organized on the visual space of a double page. Texts both in the original language and in translation must fit into limited spaces or boxes positioned around illustrations. Thus, translators practice multimodal translation, writing texts that preserve or enhance the cohesion between visual and textual messages. This skill requires some training. Unfortunately, while theoretical writings on pragmatic translation acknowledge its intersemiotic nature, few training programs address this aspect. The creation of a course on multimodal translation would be a valued addition to any translator training program. The concept of a hybrid translation unit offers a way of structuring material to introduce both intersemiotic and multimodal translation in professional curricula. The author draws on her professional experience to discuss the role of illustrations in grasping meaning through practical examples. She suggests generalizable translation strategies to strengthen text-image cohesion, or even generate text from images alone, while adapting the book in translation to its intended readership.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47841039","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 : 2021-12-22DOI: 10.14746/strop.2021.484.005
T. Tomaszkiewicz
In this paper the author demonstrates the limits of audio description in the transfer of the humorous effects of a film comedy which constitute the “semantic dominant” of this kind of production. The analysis is illustrated by examples from Philippe de Chauveron’s film, À bras ouverts (2017). In this form of intersemiotic translation, the lack of certain visual data can block the possibility of understanding the comic by blind or visually impaired people. The author tries to propose some solutions to this problem in the form of creative audio description.
在本文中，作者论证了音频描述在电影喜剧幽默效果转换中的局限性，这些幽默效果构成了这类作品的“语义主导”。Philippe de Chauveron的电影《bras ouverts》（2017）中的例子说明了这一分析。在这种跨文化翻译形式中，缺乏某些视觉数据可能会阻碍盲人或视障人士理解漫画的可能性。作者试图通过创造性的音频描述的形式来解决这个问题。
{"title":"Transmettre aux aveugles le comique d’une production multimédia. Étude d’un cas","authors":"T. Tomaszkiewicz","doi":"10.14746/strop.2021.484.005","DOIUrl":"https://doi.org/10.14746/strop.2021.484.005","url":null,"abstract":"In this paper the author demonstrates the limits of audio description in the transfer of the humorous effects of a film comedy which constitute the “semantic dominant” of this kind of production. The analysis is illustrated by examples from Philippe de Chauveron’s film, À bras ouverts (2017). In this form of intersemiotic translation, the lack of certain visual data can block the possibility of understanding the comic by blind or visually impaired people. The author tries to propose some solutions to this problem in the form of creative audio description.","PeriodicalId":35131,"journal":{"name":"Studia Romanica Posnaniensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47356998","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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