Penelitian ini bertujuan untuk menganalisis penerapan etika bisnis Islam pada PT. Mahesa Energi Persada Jakarta sebagai strategi bersaing. Mengingat maraknya persaingan tak sehat yang dilakukan oleh perusahan yang bergerak di bidang solar. Jenis penelitian ini menggunakan penelitian Kualitatif. Jenis data yang digunakan adalah data primer yang diperoleh dengan observasi, wawancara dan dokumentasi, data sekunder diperoleh dari buku dan jurnal. Teknik analisis data penelitian ini adalah kualitatif deskriptif. Adapun hasil penelitian ini adalah implementasi etika bisnis Islam yang dilakukan PT. Mahesa Energi Persada dengan menerapkan prinsip-prinsip etika bisnis Islam mencakup Prinsip Kesatuan, Prinsip Keseimbangan, Prinsip Kehendak Bebas, Prinsip Tanggung Jawab dan Prinsip kebajikan dapat disimpulkan PT. Mahesa sudah menerapkan etika bisnis Islam sebagai competitive advantage. Adapun saran dari penulis yaitu diharapkan PT. Mahesa Energi Persada istiqamah dalam menerapkan prinsip-prinsip etika bisnis Islam, meningkatkan kuantitas dan kualitas manajemen Sumber Daya Manusia dan perlu meningkatkan modal perusahaan dengan cara mencari investor.
本研究旨在分析伊斯兰商业伦理在雅加达Mahesa energy comda的应用，作为一种竞争策略。考虑到太阳能企业正在进行的不健康竞争。这种研究采用定性研究。所使用的数据类型是通过观察、采访和文件、从书籍和日记中获得的原始数据。本研究数据分析技术是描述性的。此外，这项研究的结果是，PT. Mahesa能源协议与应用伊斯兰商业伦理原则的伊斯兰伦理准则的执行，包括团结原则、平衡原则、自由意志原则、责任原则和美德原则，可以推断，PT. Mahesa已经将伊斯兰商业伦理作为一种优势。至于作者预期的PT. Mahesa能源联盟在应用伊斯兰商业道德原则方面的建议，增加人力资源管理的数量和质量，并需要通过吸引投资者来增加企业资本。
{"title":"Implementasi Etika Bisnis Islam sebagai Strategi Bersaing di PT Mahesa Energi Persada Jakarta","authors":"Ii Ismail, Mawardi Nur","doi":"10.37010/alif.v1i1.709","DOIUrl":"https://doi.org/10.37010/alif.v1i1.709","url":null,"abstract":"Penelitian ini bertujuan untuk menganalisis penerapan etika bisnis Islam pada PT. Mahesa Energi Persada Jakarta sebagai strategi bersaing. Mengingat maraknya persaingan tak sehat yang dilakukan oleh perusahan yang bergerak di bidang solar. Jenis penelitian ini menggunakan penelitian Kualitatif. Jenis data yang digunakan adalah data primer yang diperoleh dengan observasi, wawancara dan dokumentasi, data sekunder diperoleh dari buku dan jurnal. Teknik analisis data penelitian ini adalah kualitatif deskriptif. Adapun hasil penelitian ini adalah implementasi etika bisnis Islam yang dilakukan PT. Mahesa Energi Persada dengan menerapkan prinsip-prinsip etika bisnis Islam mencakup Prinsip Kesatuan, Prinsip Keseimbangan, Prinsip Kehendak Bebas, Prinsip Tanggung Jawab dan Prinsip kebajikan dapat disimpulkan PT. Mahesa sudah menerapkan etika bisnis Islam sebagai competitive advantage. Adapun saran dari penulis yaitu diharapkan PT. Mahesa Energi Persada istiqamah dalam menerapkan prinsip-prinsip etika bisnis Islam, meningkatkan kuantitas dan kualitas manajemen Sumber Daya Manusia dan perlu meningkatkan modal perusahaan dengan cara mencari investor.","PeriodicalId":36717,"journal":{"name":"Alif","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81479249","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":"Redirecting Postcolonial Theory - إعادة توجيه نظرية ما بعد الكولونيالية: Arab-Islamic Reason, Deconstructionism, and the Possibility of Multiple Critique","authors":"Y. Yacoubi","doi":"10.2307/26924867","DOIUrl":"https://doi.org/10.2307/26924867","url":null,"abstract":"","PeriodicalId":36717,"journal":{"name":"Alif","volume":"71 1","pages":"85-114"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81494745","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":"Areas of Concern: Area Studies and the New American Studies","authors":"J. C. Rowe","doi":"10.1057/9780230349209_9","DOIUrl":"https://doi.org/10.1057/9780230349209_9","url":null,"abstract":"","PeriodicalId":36717,"journal":{"name":"Alif","volume":"114 1","pages":"162-182"},"PeriodicalIF":0.0,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75865672","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}
In these testimonies recalling Edward Said--as a childhood friend (Hoda Guindi), an academic colleague (Michael Wood), an inspiring mentor (Andrew Rubin), a captivating role model (Ananya Jahanara Kabir), and a tender father (Najla Said)--different faces of his persona surface: the playful child in Cairo, the youthful professor in a panel, the concerned advisor at Columbia University, the activist inspiring his audience in Calcutta and Cambridge, and the loving and affectionate father in New York. These pithy statements by friends, close relatives, and admirers--belonging to four continents--speak intimately and astutely of Said's extraordinary presence. ********** I would like to stress at the outset that what I am going to say is drawn from--probably--collective memories because the Saids and the Guindis (Edward's and my families have been friends for over sixty years--and through three generations: grandparents, parents and children, i.e. Edward and his sisters and us--through all the vicissitudes of life. Even death has not, and cannot, sever the bonds of friendship. Elsewhere, (1) my sister has written a personal memoir of Edward's Out of Place and thus we share some of the same memories but have somewhat different interpretations! I take Out of Place as my point of departure and one particular sentence from the Preface: Along with language, it is geography--especially in the displaced form of departures, arrivals, farewells, exile, nostalgia, homesickness, belonging, and travel itself--that is at the core of my memories of those early years. (2) This struck an immediate chord in my memory; I suddenly realized that my first memory--perhaps "fictionally historical"--(as I was a mere tot!) of the relationship between the Saids and the Guindis, Edward and his two sisters and my sister and myself (there were further additions to both families later), were of departures and farewells, arrivals and welcomes. On this occasion, fortunately, the departure of the Saids at the time of El Alamein (1942) was followed, not long after, by an "arrival"--to us, a return. In the first paragraph of his first chapter, Edward writes of his "overriding sensation ... of always being out of place." (3) Ironically, and perhaps paradoxically, my early memories of Edward are grounded on and rooted in places--for even that first departure is indelibly associated with a particular place--the lift and stairwell--in a particular building in a particular district of Cairo: Zamalek. The Saids and the Guindis were friends and neighbors--we lived, respectively, on the fifth and second floors of the building-which meant that there was a continual toing and froing between flats. Whilst our parents visited each other decorously in the flats, we, with Edward as the ringleader, ran up and down the stairs with much clamor and clatter, much to the despair of our parents and the dismay of the other tenants. To my shame, now, the ancient (even then) and beautiful Art Deco lift was als
{"title":"Of the Place","authors":"Hoda Guindi","doi":"10.2307/j.ctv346th8.9","DOIUrl":"https://doi.org/10.2307/j.ctv346th8.9","url":null,"abstract":"In these testimonies recalling Edward Said--as a childhood friend (Hoda Guindi), an academic colleague (Michael Wood), an inspiring mentor (Andrew Rubin), a captivating role model (Ananya Jahanara Kabir), and a tender father (Najla Said)--different faces of his persona surface: the playful child in Cairo, the youthful professor in a panel, the concerned advisor at Columbia University, the activist inspiring his audience in Calcutta and Cambridge, and the loving and affectionate father in New York. These pithy statements by friends, close relatives, and admirers--belonging to four continents--speak intimately and astutely of Said's extraordinary presence. ********** I would like to stress at the outset that what I am going to say is drawn from--probably--collective memories because the Saids and the Guindis (Edward's and my families have been friends for over sixty years--and through three generations: grandparents, parents and children, i.e. Edward and his sisters and us--through all the vicissitudes of life. Even death has not, and cannot, sever the bonds of friendship. Elsewhere, (1) my sister has written a personal memoir of Edward's Out of Place and thus we share some of the same memories but have somewhat different interpretations! I take Out of Place as my point of departure and one particular sentence from the Preface: Along with language, it is geography--especially in the displaced form of departures, arrivals, farewells, exile, nostalgia, homesickness, belonging, and travel itself--that is at the core of my memories of those early years. (2) This struck an immediate chord in my memory; I suddenly realized that my first memory--perhaps \"fictionally historical\"--(as I was a mere tot!) of the relationship between the Saids and the Guindis, Edward and his two sisters and my sister and myself (there were further additions to both families later), were of departures and farewells, arrivals and welcomes. On this occasion, fortunately, the departure of the Saids at the time of El Alamein (1942) was followed, not long after, by an \"arrival\"--to us, a return. In the first paragraph of his first chapter, Edward writes of his \"overriding sensation ... of always being out of place.\" (3) Ironically, and perhaps paradoxically, my early memories of Edward are grounded on and rooted in places--for even that first departure is indelibly associated with a particular place--the lift and stairwell--in a particular building in a particular district of Cairo: Zamalek. The Saids and the Guindis were friends and neighbors--we lived, respectively, on the fifth and second floors of the building-which meant that there was a continual toing and froing between flats. Whilst our parents visited each other decorously in the flats, we, with Edward as the ringleader, ran up and down the stairs with much clamor and clatter, much to the despair of our parents and the dismay of the other tenants. To my shame, now, the ancient (even then) and beautiful Art Deco lift was als","PeriodicalId":36717,"journal":{"name":"Alif","volume":"77 ","pages":"9"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72428510","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}
History is about research and analysis, it clarifies and classifies, whereas poetry describes the mess that historians try to clear up. In illustrating the difference between history and poetry, the author excavates the 'historical influence' in his own poetry: The lessons and insights acquired from such diverse sources as Fernando Pessoa's "Autopsychography," Rilke's "The Panther," Giorgio de Chirico's metaphysical paintings, Wallace Stevens's "A Clear Day and No Memories," and Swift's "A Satirical Elegy." He surmises that an ahistorical attitude may capture an artist's position in time more effectively than a conscious attempt to be historical. The author discusses the genesis of his new collection, Bastardi Puri, in Beirut, concluding that the city itself, like his poetry, exhibits the protean and elusive nature of history. ********** An archaeologist locates a site to unearth, classify and date artifacts. He digs up an Osiris or an Anubis. "Let sleeping dogs lie" is not his motto; he decides for them. In my work, it's up to the dogs; in that respect, historical references are no different from contemporary ones. Some dresses worn at Versailles were puce, a colour chosen to camouflage fleas. When history is invisible as Bourbon fleas, poems double as puce. There's no exhibiting past and present like identifiable thoroughbreds. They're parts of one mongrel, and sometimes parts are hard to separate. History's parts may be miscast, rewritten, simplified, manipulated or ignored. For every responsible archaeologist there are countless seams, subterfuges and acts of vandalism. Historians try to clear up the mess; poets describe it. A historian researches and analyzes, but, as Plato observes, a poet cannot explain what he is doing when composing--he's beside himself, impelled by Muses. (1) At the absurd end of the spectrum, a blind Muse leads the blind. An archaeologist is clinical and methodical. A poet doesn't catalogue the truths searched for; they form as memorable lines, not as data to be remembered. In some inexhaustible poems, lines gradually overshadow one another, and the friction lights up a pharos that shouldn't be translated back into words. It's often retroactive guesswork, if not wishful thinking, for a person to quote historical poets and argue that they influence him or her in a particular way. I like Fernando Pessoa's heteronyms, his ability to write as different authors in different styles that transcend any one personality. But if I try to use heteronyms, they turn into my divided and ruled satraps--the exercise is a dead end. For me, Pessoa's lesson lies elsewhere. In "Autopsychography," he goes backstage to explore the theatre an audience misses if it misunderstands the nature of performance: The poet is a faker. He Fakes it so completely, He even fakes he's suffering The pain he's really feeling. And they who read his writing Fully feel while reading Not that pain of his that's double, But theirs, completely fictional. So on its
{"title":"History and poetry","authors":"Walid Bitar","doi":"10.2307/4047425","DOIUrl":"https://doi.org/10.2307/4047425","url":null,"abstract":"History is about research and analysis, it clarifies and classifies, whereas poetry describes the mess that historians try to clear up. In illustrating the difference between history and poetry, the author excavates the 'historical influence' in his own poetry: The lessons and insights acquired from such diverse sources as Fernando Pessoa's \"Autopsychography,\" Rilke's \"The Panther,\" Giorgio de Chirico's metaphysical paintings, Wallace Stevens's \"A Clear Day and No Memories,\" and Swift's \"A Satirical Elegy.\" He surmises that an ahistorical attitude may capture an artist's position in time more effectively than a conscious attempt to be historical. The author discusses the genesis of his new collection, Bastardi Puri, in Beirut, concluding that the city itself, like his poetry, exhibits the protean and elusive nature of history. ********** An archaeologist locates a site to unearth, classify and date artifacts. He digs up an Osiris or an Anubis. \"Let sleeping dogs lie\" is not his motto; he decides for them. In my work, it's up to the dogs; in that respect, historical references are no different from contemporary ones. Some dresses worn at Versailles were puce, a colour chosen to camouflage fleas. When history is invisible as Bourbon fleas, poems double as puce. There's no exhibiting past and present like identifiable thoroughbreds. They're parts of one mongrel, and sometimes parts are hard to separate. History's parts may be miscast, rewritten, simplified, manipulated or ignored. For every responsible archaeologist there are countless seams, subterfuges and acts of vandalism. Historians try to clear up the mess; poets describe it. A historian researches and analyzes, but, as Plato observes, a poet cannot explain what he is doing when composing--he's beside himself, impelled by Muses. (1) At the absurd end of the spectrum, a blind Muse leads the blind. An archaeologist is clinical and methodical. A poet doesn't catalogue the truths searched for; they form as memorable lines, not as data to be remembered. In some inexhaustible poems, lines gradually overshadow one another, and the friction lights up a pharos that shouldn't be translated back into words. It's often retroactive guesswork, if not wishful thinking, for a person to quote historical poets and argue that they influence him or her in a particular way. I like Fernando Pessoa's heteronyms, his ability to write as different authors in different styles that transcend any one personality. But if I try to use heteronyms, they turn into my divided and ruled satraps--the exercise is a dead end. For me, Pessoa's lesson lies elsewhere. In \"Autopsychography,\" he goes backstage to explore the theatre an audience misses if it misunderstands the nature of performance: The poet is a faker. He Fakes it so completely, He even fakes he's suffering The pain he's really feeling. And they who read his writing Fully feel while reading Not that pain of his that's double, But theirs, completely fictional. So on its","PeriodicalId":36717,"journal":{"name":"Alif","volume":"1 1","pages":"190-205"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89918516","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}
Stressing the role of collective memory in the survival of Palestinian people in the diaspora, Said argues for acknowledging the rights of the Palestinians as a people, since human rights are universal. No earthly or divine dispensation could excuse oppressing a people by pleading past victimhood. Against the reductive notion of clash of civilizations, Said espouses knowing the Other and recognizing the historical rights of Palestinians in their own country. Knowledge becomes in this quest, a tool of understanding and recognition. Said advocates replacing antagonism with reconciliation following the model of post-apartheid South Africa. For him, the Palestinian-Israeli conflict cannot be resolved by military means, but by democratic admission of equality and by inclusiveness rather than exclusiveness. The Palestinian past cannot be erased and should not be dismissed if a genuine peace is sought. ********** This is a very fraught moment to be speaking about human rights and the Middle East, and the human rights of the Palestinian people in particular; but it does seem to be in some ways a symbolically useful time for the purposes of my lecture and what I have to say. I should also say immediately that I am not a political commentator; I am not a political scientist; I don't teach Middle Eastern studies or any of that, so I speak as one of us. The United States of America has already sent a hugely intimidating military forces to various Arab and non-Arab countries in the regions surrounding Iraq. The frankly imperial idea which my President [George W. Bush] can barely articulate is that they are there to disarm Iraq forcibly and also to change its dreadful regime. The rest of the international community, not least most of the Arab countries of the region as well as the other permanent members of the Security Council, have been expressing varying degrees of disquiet and occasionally urgent disapproval as is the case with France. Certainly it is the case that no one outside of Iraq has suggested any concern about Saddam Hussein and his government. It is the people of Iraq who stand to suffer the most and whose doubly and triply miserable fate is of the deepest interest to people all over the world. I am sorry to say that none of this has had the slightest effect on what is a granitic will on the part of a tiny number of members of George Bush's administration to go forward with plans for a war among whose stated imperial intentions is the unilateral wish to bring American style democracy to Iraq and the Arab world, redrawing maps, overturning governments and states and modes of life on a fantastically wide scale in the process. That all of this has very little in the final analysis to do with the enhancements of human rights and democracy, in a part of the world especially rife with their abuse, is patently obvious. Were Iraq to have been the world's largest exporter of oranges and apples, there would have been no concern over its purported possessio
{"title":"Memory, Inequality, and Power: Palestine and the Universality of Human Rights","authors":"E. Said","doi":"10.2307/4047418","DOIUrl":"https://doi.org/10.2307/4047418","url":null,"abstract":"Stressing the role of collective memory in the survival of Palestinian people in the diaspora, Said argues for acknowledging the rights of the Palestinians as a people, since human rights are universal. No earthly or divine dispensation could excuse oppressing a people by pleading past victimhood. Against the reductive notion of clash of civilizations, Said espouses knowing the Other and recognizing the historical rights of Palestinians in their own country. Knowledge becomes in this quest, a tool of understanding and recognition. Said advocates replacing antagonism with reconciliation following the model of post-apartheid South Africa. For him, the Palestinian-Israeli conflict cannot be resolved by military means, but by democratic admission of equality and by inclusiveness rather than exclusiveness. The Palestinian past cannot be erased and should not be dismissed if a genuine peace is sought. ********** This is a very fraught moment to be speaking about human rights and the Middle East, and the human rights of the Palestinian people in particular; but it does seem to be in some ways a symbolically useful time for the purposes of my lecture and what I have to say. I should also say immediately that I am not a political commentator; I am not a political scientist; I don't teach Middle Eastern studies or any of that, so I speak as one of us. The United States of America has already sent a hugely intimidating military forces to various Arab and non-Arab countries in the regions surrounding Iraq. The frankly imperial idea which my President [George W. Bush] can barely articulate is that they are there to disarm Iraq forcibly and also to change its dreadful regime. The rest of the international community, not least most of the Arab countries of the region as well as the other permanent members of the Security Council, have been expressing varying degrees of disquiet and occasionally urgent disapproval as is the case with France. Certainly it is the case that no one outside of Iraq has suggested any concern about Saddam Hussein and his government. It is the people of Iraq who stand to suffer the most and whose doubly and triply miserable fate is of the deepest interest to people all over the world. I am sorry to say that none of this has had the slightest effect on what is a granitic will on the part of a tiny number of members of George Bush's administration to go forward with plans for a war among whose stated imperial intentions is the unilateral wish to bring American style democracy to Iraq and the Arab world, redrawing maps, overturning governments and states and modes of life on a fantastically wide scale in the process. That all of this has very little in the final analysis to do with the enhancements of human rights and democracy, in a part of the world especially rife with their abuse, is patently obvious. Were Iraq to have been the world's largest exporter of oranges and apples, there would have been no concern over its purported possessio","PeriodicalId":36717,"journal":{"name":"Alif","volume":"29 1","pages":"15"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76458731","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}
more than a "representation." In his 1971 survey of the subject, C. Froidefond characterized Greek views of Egypt as a "mirage," an imaginative vision that had as much to do with who the Greeks were as it had with who the Egyptians were.1 Edward Said's 1978 landmark work on orientalism traced how that Egyptian mirage developed and endured over the years in response to Europe's own evolving identity, and his book made a strong case for what has become a key idea in cultural studies: Power follows knowledge, and the seemingly objective and scientific study of other cultures is often an accessory to the crimes committed by empires in the name of civilization.2 The enormous-and often nasty-controversy that swirled around the publication of Martin Bernal's Black Athena, with its accusation of racism in the conduct of European historiography, particularly in the treatment of the relationship between Europe and Egypt, has dealt a devastating blow to the pose of objectivity in the conduct of scholarship.3 Despite this controversy, or perhaps because of it, the peculiar position of Egypt in the imaginations of the Greeks and Romans and its role in the classical world continue to be a subject of the greatest interest. I wish to contribute to this discussion by looking at the role Egypt plays in the so-called Greek romances, prose narratives of love and adventure that were composed during the Roman empire. I will begin by selectively sketching ideas about Egypt in Greek and Roman letters as a context for my remarks.4
{"title":"Egypt in Greco-Roman History and Fiction *","authors":"Stephen A. Nimis","doi":"10.2307/4047419","DOIUrl":"https://doi.org/10.2307/4047419","url":null,"abstract":"more than a \"representation.\" In his 1971 survey of the subject, C. Froidefond characterized Greek views of Egypt as a \"mirage,\" an imaginative vision that had as much to do with who the Greeks were as it had with who the Egyptians were.1 Edward Said's 1978 landmark work on orientalism traced how that Egyptian mirage developed and endured over the years in response to Europe's own evolving identity, and his book made a strong case for what has become a key idea in cultural studies: Power follows knowledge, and the seemingly objective and scientific study of other cultures is often an accessory to the crimes committed by empires in the name of civilization.2 The enormous-and often nasty-controversy that swirled around the publication of Martin Bernal's Black Athena, with its accusation of racism in the conduct of European historiography, particularly in the treatment of the relationship between Europe and Egypt, has dealt a devastating blow to the pose of objectivity in the conduct of scholarship.3 Despite this controversy, or perhaps because of it, the peculiar position of Egypt in the imaginations of the Greeks and Romans and its role in the classical world continue to be a subject of the greatest interest. I wish to contribute to this discussion by looking at the role Egypt plays in the so-called Greek romances, prose narratives of love and adventure that were composed during the Roman empire. I will begin by selectively sketching ideas about Egypt in Greek and Roman letters as a context for my remarks.4","PeriodicalId":36717,"journal":{"name":"Alif","volume":"62 1","pages":"34"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74259245","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}
The Partition of the Indian subcontinent in 1947 has profoundly altered the geopolitics and demography of South Asia, generating also large-scale diasporic movements to Britain from the regions most deeply affected thereby, such as the Punjab. Deploying paradigms from Holocaust studies, the author connects diaspora with trauma to analyze the memory-work inscribed within contemporary music produced and enjoyed by British Punjabis in Britain. Arguing that such music expresses a 'neo-ethnic' Punjabi 'postmemory' that recalls pre-Partition Punjab, the author suggests that such 'musical recall' has a redemptive and commemorative potential inherent in its ability to bypass narratives of violence and nationalism, and articulate instead post- and transnational modes of identity formation and cultural belonging. ********** In British author Meera Syal's autobiographical novel Anita and Me, the narrative of a Punjabi girl growing up in an English village is interrupted at one point by memories of the Partition of India. One evening, the protagonist, Meena, overhears a musical soiree arranged by her parents and their friends turning into a heated emotional discussion: It was my Uncle Bhatnagar shouting.... "But it was a damn massacre!" he was spluttering, and then he talked in Punjabi of which I recognised a few words, "Family ... money ... death" and then, "They talk about their world wars ... We lost a million people! And who thought up Partition? These 'gores' [white people], that's who!" Then everyone launched in, the whispers squeezed through the gap in the door and I could make out familiar voices saying such terrible and alien things. "My mother and I, the Hindus marched us through the streets ... our heads uncovered ..." That must have been Auntie Mumtaz, one of our few Muslim friends. "They wanted to do such things to us ..." ... there was a long pause, I thought I heard someone sniff. "All the time we were walking, mama and I, papa was lying dead, his head cut from his body. They found it later lying in the fallen jasmine blooms ..." "We all have these stories, bhainji [sister]," Uncle Bhatnagar again, addressing her as sister. "What was happening to you was also happening to us. None of us could stop it, Mad people everywhere." There was a murmur of consensus, subdued, fearful maybe because of all the old wounds being reopened. "We were on the wrong side of the border also when the news came, none of us knew until that moment if we would be going or staying. My whole family, we walked from Syalcote across the border ... We maybe passed your family going the other way. The bodies piled high ... the trains pulling into stations full of dead families.... Hai Ram. What we have seen...." (Syal 73) Sisters lost to mobs, Sikhs shearing their uncut hair in trains, men's heads chopped off as yanked-down trousers yielded evidence of circumcision--overhearing these stories, Meena realises that the past for her parents was no sentimental journey, but "a murk
1947年印度次大陆的分裂深刻地改变了南亚的地缘政治和人口结构，也产生了从旁遮普邦等受影响最严重的地区向英国的大规模移民运动。作者运用大屠杀研究的范例，将散居与创伤联系起来，分析了英国旁遮普人制作和欣赏的当代音乐中所包含的记忆工作。作者认为，这样的音乐表达了一种“新种族”旁遮普的“后记忆”，它唤起了旁遮普分裂前的回忆。作者认为，这种“音乐回忆”具有一种内在的救赎和纪念潜力，因为它能够绕过暴力和民族主义的叙述，而是清晰地表达出身份形成和文化归属的后和跨国模式。**********在英国作家Meera Syal的自传体小说《Anita and Me》中，一个在英国村庄长大的旁遮普女孩的故事一度被印度分裂的记忆打断。一天晚上，主人公米娜(Meena)无意中听到父母和朋友安排的音乐晚会变成了一场激烈的情感讨论:那是我叔叔巴特纳格尔(Bhatnagar)在喊....“可那是一场该死的大屠杀!”他结结巴巴地说，然后他用旁遮普语说了几句，我听出其中的几个词:“家庭……钱……“他们谈论他们的世界大战……我们损失了一百万人!谁想出了分区?这些‘gores’(白人)，就是他们!”然后所有人都涌了进来，窃窃私语从门缝里挤了进来，我能听出熟悉的声音在说着可怕而陌生的事情。“我母亲和我，印度教徒让我们在街上游行……我们的头没戴上……”那一定是蒙塔兹阿姨，我们为数不多的穆斯林朋友之一。“他们想对我们这样做……”…沉默了很长时间，我想我听到有人在闻。“我们走路的时候，妈妈和我，爸爸躺在地上死了，他的头从身体上割了下来。后来他们在凋落的茉莉花中找到了它……”“我们都有这样的故事，bhainji[妹妹]，”巴特纳格尔叔叔再次称呼她为妹妹。“发生在你们身上的事，也同样发生在我们身上。没有人能阻止它，到处都是疯子。”大家都在窃窃私语，但都很压抑，很害怕，也许是因为所有的旧伤都被重新揭开了。“当消息传来时，我们也在边境的另一边，直到那一刻我们才知道我们是去还是留。我们全家从锡亚尔科特走过边境…我们可能从相反的方向经过了你的家人。尸体堆得很高……满载着死去的家人的火车进站....海内存。我们所看到的....”(Syal 73)修女们被暴民抢走，锡克教徒在火车上剪掉他们未剪的头发，男人的头被剪掉，因为拉下来的裤子显示了割礼的证据——无意中听到这些故事，米娜意识到，对她父母来说，过去不是感伤的旅程，而是“一个充满怪物的阴暗无底池……看似平静的表面和致命的暗流”(Syal 75)。在这里，有两个层次的记忆在起作用:老年人记得发生了什么，而成年作者记得他们在回忆。这种记忆的记忆黑暗地潜伏在Meena童年的两股发展出来的散居的主体性的喜剧视野之下:家庭之外的生活，她和她的白人朋友在托灵顿漫游，以及家庭内部的生活，一个家庭和好客的旁遮普文化的场所。我们如何解释这个未被消化的片段，它与调和这些线索的叙事任务无关?大屠杀学者玛丽安·赫希(Marianne Hirsch)的“后记忆”概念提供了一条线索:后记忆描述了那些在他们出生之前的故事主导下长大的人的经历，他们自己迟来的故事被上一代人的故事所取代，被他们既无法理解也无法创造的创伤事件所塑造。…
{"title":"Musical Recall: Postmemory and the Punjabi Diaspora","authors":"A. Kabir","doi":"10.2307/4047424","DOIUrl":"https://doi.org/10.2307/4047424","url":null,"abstract":"The Partition of the Indian subcontinent in 1947 has profoundly altered the geopolitics and demography of South Asia, generating also large-scale diasporic movements to Britain from the regions most deeply affected thereby, such as the Punjab. Deploying paradigms from Holocaust studies, the author connects diaspora with trauma to analyze the memory-work inscribed within contemporary music produced and enjoyed by British Punjabis in Britain. Arguing that such music expresses a 'neo-ethnic' Punjabi 'postmemory' that recalls pre-Partition Punjab, the author suggests that such 'musical recall' has a redemptive and commemorative potential inherent in its ability to bypass narratives of violence and nationalism, and articulate instead post- and transnational modes of identity formation and cultural belonging. ********** In British author Meera Syal's autobiographical novel Anita and Me, the narrative of a Punjabi girl growing up in an English village is interrupted at one point by memories of the Partition of India. One evening, the protagonist, Meena, overhears a musical soiree arranged by her parents and their friends turning into a heated emotional discussion: It was my Uncle Bhatnagar shouting.... \"But it was a damn massacre!\" he was spluttering, and then he talked in Punjabi of which I recognised a few words, \"Family ... money ... death\" and then, \"They talk about their world wars ... We lost a million people! And who thought up Partition? These 'gores' [white people], that's who!\" Then everyone launched in, the whispers squeezed through the gap in the door and I could make out familiar voices saying such terrible and alien things. \"My mother and I, the Hindus marched us through the streets ... our heads uncovered ...\" That must have been Auntie Mumtaz, one of our few Muslim friends. \"They wanted to do such things to us ...\" ... there was a long pause, I thought I heard someone sniff. \"All the time we were walking, mama and I, papa was lying dead, his head cut from his body. They found it later lying in the fallen jasmine blooms ...\" \"We all have these stories, bhainji [sister],\" Uncle Bhatnagar again, addressing her as sister. \"What was happening to you was also happening to us. None of us could stop it, Mad people everywhere.\" There was a murmur of consensus, subdued, fearful maybe because of all the old wounds being reopened. \"We were on the wrong side of the border also when the news came, none of us knew until that moment if we would be going or staying. My whole family, we walked from Syalcote across the border ... We maybe passed your family going the other way. The bodies piled high ... the trains pulling into stations full of dead families.... Hai Ram. What we have seen....\" (Syal 73) Sisters lost to mobs, Sikhs shearing their uncut hair in trains, men's heads chopped off as yanked-down trousers yielded evidence of circumcision--overhearing these stories, Meena realises that the past for her parents was no sentimental journey, but \"a murk","PeriodicalId":36717,"journal":{"name":"Alif","volume":"47 1","pages":"172-191"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81008461","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}
Hamlet is the most problematic play ever written. Inconsistencies arise from the variousness of its medieval and Renaissance sources; from discrepancies between printed versions of Shakespeare's drama; and from a host of unresolved thematic and psychological problems, such as the famous question of why the Prince delays his revenge. Hence the endless interpreting of the play. Yet interpretation is not simply a matter for scholars and critics. The Prince and virtually every other main character indulges in it. Shakespeare, in giving interpretation this significance, bad to develop previous versions of the story. So when one considers the issue of interpretation in the play one is also examining a prime example of how texts undergo alteration from period to period. Specifically, there are two influences on the metamorphosis of Hamlet: the intellectual climate in which it was written and the nature of the sixteenth-century political world. Together, they put at Shakespeare's disposal transformations of his inherited versions that are highly revealing of his creative processes. Shakespeare gives important dramatic voice to a newly emergent form of Europe's early modern self. ********** T. S. Eliot called Hamlet "the 'Mona Lisa' of literature." It is true. No other work has presented more uncertain meanings. Interpretation has thrived. Hamlet is quite simply "the most problematic play ever written by Shakespeare or any other playwright." (1) Inconsistencies and difficulties derive from the dramatist's need to integrate his medieval and Renaissance sources. The various printed versions of the author's text have to be reconciled, but sometimes resist this. A host of deeper questions arise. Among the most celebrated are: what is the reason for the Prince's delay in revenging his father's murder; is his madness genuine or feigned; what is the true status of his feelings for Ophelia? Most of these questions do not admit of definitive solutions. Nor will there be a search here for possible answers to the second and third. For in the case of the thematic and psychological issues there is a seemingly impenetrable ambiguity. Ambiguity is, in fact, a striking characteristic of Shakespeare's work. Hence William Empson's continuous resort to him for examples in Seven Types of Ambiguity. Indeed he once wrote that a given sonnet, rather than having a single meaning, is more like a musical instrument on which the critic may play a variety of tunes. As it happens, Empson's image of the musical instrument is also used in Hamlet, by the Prince. It occurs on two occasions. Hamlet greets Horatio admiringly, saying what a well-balanced man he is. Those who combine passion and judgment harmoniously "... are not a pipe for Fortune's finger/To sound what stop she please" (III, ii, 70-71). (2) The image recurs soon after, once Claudius has burst out of the play within the play. Hamlet orders music. Then Rosencrantz and Guildenstern arrive to ask the Prince to visit his mother
《哈姆雷特》是有史以来最有问题的剧本。不一致源于中世纪和文艺复兴时期来源的多样性;莎士比亚戏剧的印刷版本之间的差异;以及一系列尚未解决的主题和心理问题，比如著名的王子为什么推迟复仇的问题。于是就有了对这出戏的没完没了的解释。然而，解读并不仅仅是学者和评论家的事情。王子和几乎所有其他主角都沉迷于此。莎士比亚在解释这一意义时，不得不发展这个故事以前的版本。因此，当人们考虑戏剧中的解释问题时，人们也在研究文本如何在不同时期发生变化的一个主要例子。具体来说，《哈姆雷特》的蜕变受到两方面的影响:创作《哈姆雷特》时的学术氛围和16世纪政治世界的本质。他们一起为莎士比亚提供了对他继承的版本的转换，这些版本高度揭示了他的创作过程。莎士比亚为欧洲早期现代自我的一种新兴形式提供了重要的戏剧声音。********** t·s·艾略特称哈姆雷特为“文学界的蒙娜丽莎”。这是真的。没有其他作品呈现出如此不确定的含义。口译业蓬勃发展。《哈姆雷特》是“莎士比亚或其他剧作家写过的最有问题的剧本”。(1)矛盾和困难源于剧作家需要将他的中世纪和文艺复兴时期的素材整合起来。作者文本的各种印刷版本必须协调一致，但有时会抵制这一点。一系列更深层次的问题由此产生。其中最著名的有:是什么原因导致王子迟迟不为谋杀他父亲的人报仇;他的疯狂是真的还是假的?他对奥菲莉亚的感情到底是怎样的?这些问题大多没有明确的解决办法。这里也不会寻找第二个和第三个问题的可能答案。因为在主题和心理问题的情况下，似乎有一种难以理解的模糊性。事实上，模棱两可是莎士比亚作品的一个显著特征。因此威廉·Empson在《七种歧义》中不断以他为例。事实上，他曾经写道，一首给定的十四行诗，与其说有单一的含义，不如说是一种乐器，评论家可以在上面演奏各种曲调。碰巧，王子在《哈姆雷特》中也使用了Empson对乐器的形象。它发生在两种情况下。哈姆雷特钦佩地向荷瑞修打招呼，说他是个身材匀称的人。那些将激情和判断力和谐结合的人……不是命运之指的管子/发出她所希望的停止”(III, ii, 70-71)。不久之后，当克劳迪斯突然从戏中跳出来时，这个形象又出现了。哈姆雷特点了音乐。随后，罗森克兰茨和吉尔登斯特恩前来请求王子看望他的母亲，他们对王子的行为感到不安。哈姆雷特拿起一个录音机，对他们说:嘿，看看你们，你们把我当成了一个多么不值得的东西。你会玩弄我，你似乎知道我的停顿，你会挖出我神秘的核心，你会把我从最低的音调敲到罗盘的顶端;在这个小小的风琴里，有许多音乐，美妙的声音，可是你不能使它说话。“小子，你以为在我身上玩比在烟斗上玩容易吗?”你爱叫我什么乐器都行，虽然你使我烦躁，但你不能在我身上弹奏。(三，二，354-63)在每种情况下，哈姆雷特拒绝被用作一个纯粹的工具，以推进他人的设计的想法。但他不情愿地承认，《财富》确实扮演了他，与调整得更好的霍雷肖形成了对比。此外，还有一个所谓的神秘——王子——有待发现，尽管罗森克兰茨和吉尔登斯特恩使用了不恰当的手段来“挖出”它。．..
{"title":"The Uses of Interpretation in Hamlet","authors":"Leslie Croxford","doi":"10.2307/4047421","DOIUrl":"https://doi.org/10.2307/4047421","url":null,"abstract":"Hamlet is the most problematic play ever written. Inconsistencies arise from the variousness of its medieval and Renaissance sources; from discrepancies between printed versions of Shakespeare's drama; and from a host of unresolved thematic and psychological problems, such as the famous question of why the Prince delays his revenge. Hence the endless interpreting of the play. Yet interpretation is not simply a matter for scholars and critics. The Prince and virtually every other main character indulges in it. Shakespeare, in giving interpretation this significance, bad to develop previous versions of the story. So when one considers the issue of interpretation in the play one is also examining a prime example of how texts undergo alteration from period to period. Specifically, there are two influences on the metamorphosis of Hamlet: the intellectual climate in which it was written and the nature of the sixteenth-century political world. Together, they put at Shakespeare's disposal transformations of his inherited versions that are highly revealing of his creative processes. Shakespeare gives important dramatic voice to a newly emergent form of Europe's early modern self. ********** T. S. Eliot called Hamlet \"the 'Mona Lisa' of literature.\" It is true. No other work has presented more uncertain meanings. Interpretation has thrived. Hamlet is quite simply \"the most problematic play ever written by Shakespeare or any other playwright.\" (1) Inconsistencies and difficulties derive from the dramatist's need to integrate his medieval and Renaissance sources. The various printed versions of the author's text have to be reconciled, but sometimes resist this. A host of deeper questions arise. Among the most celebrated are: what is the reason for the Prince's delay in revenging his father's murder; is his madness genuine or feigned; what is the true status of his feelings for Ophelia? Most of these questions do not admit of definitive solutions. Nor will there be a search here for possible answers to the second and third. For in the case of the thematic and psychological issues there is a seemingly impenetrable ambiguity. Ambiguity is, in fact, a striking characteristic of Shakespeare's work. Hence William Empson's continuous resort to him for examples in Seven Types of Ambiguity. Indeed he once wrote that a given sonnet, rather than having a single meaning, is more like a musical instrument on which the critic may play a variety of tunes. As it happens, Empson's image of the musical instrument is also used in Hamlet, by the Prince. It occurs on two occasions. Hamlet greets Horatio admiringly, saying what a well-balanced man he is. Those who combine passion and judgment harmoniously \"... are not a pipe for Fortune's finger/To sound what stop she please\" (III, ii, 70-71). (2) The image recurs soon after, once Claudius has burst out of the play within the play. Hamlet orders music. Then Rosencrantz and Guildenstern arrive to ask the Prince to visit his mother","PeriodicalId":36717,"journal":{"name":"Alif","volume":"18 1","pages":"93"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72656426","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}
Reminiscing over the past while surrounded by ancient Egyptian temples in Luxor, the author of this testimonial essay reflects on the significance of the past in personal and collective consciousness. Drawing on her own experience, she views all search as inevitably linked to yearning for the irrecoverable first impression, la scene primitive. Her own specialization in medieval Latin literature did not conflict with her passion for modern literature. Modern texts captivate as they echo motifs from medieval, classical, and renaissance literatures. To truly appreciate the modern, one needs to recognize the richness of the past in it. ********** I write this in Luxor, an appropriate and agreeable place to seek out pasts, whether personal or historic; for, surely, all our searches are driven by the same nostalgia, a yearning for that irrecoverable first impression, that initial imprint staking out its territory of individual history in the collective consciousness. And the scene primitive for us who live in the present is primitive precisely in that it is an individualizing experience universally shared. Each of us seeks his beginnings because in our beginnings we hope to rejoin the grounds of our being, the ends beckoning to be reborn from which we spring, as though to recover a retrievable progenitor in lieu of the aimless and purposeless creator, powerless to repeat the singularity of his act in forming the one of its kind that each of us is. For always there is that in our beginnings which was underived from an end and which is irrecoverably lost in our end. Hence the immeasureable sadness of the individual death and hence the impetus to seek in the past for the long history of individual suffering reabsorbed into the universal consciousness, to comb the lived individual lives for whatever light they might shed on the individual journey, whatever spark might be shaken from past lives "like shook foil," of understanding, or wisdom, or beauty. And here in Luxor is very close indeed to where our knowledge of individual lives and communities begins. I have been asked for a personal account of my own career with its shift of interest from the medieval to the modern and I find Luxor an appropriate place to jot down these thoughts and memories since it was to Egypt I came at the start of my teaching career where, in some ironic reversal I left the study of the past to examine the present. Upon reflection, it was perhaps more appropriate than might have appeared that in New York City, the matrix of modernity where I was born and lived, I should have sought out the past, and in Egypt, where civilization all began, I should have embraced the present and sought out the contemporary: "In our beginnings are our ends; in our ends our beginnings." It is no wonder that a New Yorker should seek her bearings in the ancient world; there is nothing surprising in that she should scurry toward the contemporary having once ascertained the presence of the past. In all m
{"title":"A Wistful Lament for an Irrecoverable Loss","authors":"D. Shoukri","doi":"10.2307/4047417","DOIUrl":"https://doi.org/10.2307/4047417","url":null,"abstract":"Reminiscing over the past while surrounded by ancient Egyptian temples in Luxor, the author of this testimonial essay reflects on the significance of the past in personal and collective consciousness. Drawing on her own experience, she views all search as inevitably linked to yearning for the irrecoverable first impression, la scene primitive. Her own specialization in medieval Latin literature did not conflict with her passion for modern literature. Modern texts captivate as they echo motifs from medieval, classical, and renaissance literatures. To truly appreciate the modern, one needs to recognize the richness of the past in it. ********** I write this in Luxor, an appropriate and agreeable place to seek out pasts, whether personal or historic; for, surely, all our searches are driven by the same nostalgia, a yearning for that irrecoverable first impression, that initial imprint staking out its territory of individual history in the collective consciousness. And the scene primitive for us who live in the present is primitive precisely in that it is an individualizing experience universally shared. Each of us seeks his beginnings because in our beginnings we hope to rejoin the grounds of our being, the ends beckoning to be reborn from which we spring, as though to recover a retrievable progenitor in lieu of the aimless and purposeless creator, powerless to repeat the singularity of his act in forming the one of its kind that each of us is. For always there is that in our beginnings which was underived from an end and which is irrecoverably lost in our end. Hence the immeasureable sadness of the individual death and hence the impetus to seek in the past for the long history of individual suffering reabsorbed into the universal consciousness, to comb the lived individual lives for whatever light they might shed on the individual journey, whatever spark might be shaken from past lives \"like shook foil,\" of understanding, or wisdom, or beauty. And here in Luxor is very close indeed to where our knowledge of individual lives and communities begins. I have been asked for a personal account of my own career with its shift of interest from the medieval to the modern and I find Luxor an appropriate place to jot down these thoughts and memories since it was to Egypt I came at the start of my teaching career where, in some ironic reversal I left the study of the past to examine the present. Upon reflection, it was perhaps more appropriate than might have appeared that in New York City, the matrix of modernity where I was born and lived, I should have sought out the past, and in Egypt, where civilization all began, I should have embraced the present and sought out the contemporary: \"In our beginnings are our ends; in our ends our beginnings.\" It is no wonder that a New Yorker should seek her bearings in the ancient world; there is nothing surprising in that she should scurry toward the contemporary having once ascertained the presence of the past. In all m","PeriodicalId":36717,"journal":{"name":"Alif","volume":"109 1","pages":"9"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79598334","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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