Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-1-108-124
A. Gavrilyuk
{"title":"Language as a Major Agent in the Poetry of Alexander Kabanov","authors":"A. Gavrilyuk","doi":"10.25205/2307-1737-2019-1-108-124","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-108-124","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310930","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-1-125-139
T. Mikhailova
{"title":"Croch ~ cros ‘cross’: Latin Borrowings and Christian Traditional Metaphors in Early Ireland","authors":"T. Mikhailova","doi":"10.25205/2307-1737-2019-1-125-139","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-125-139","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310939","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-2-229-248
O. Sokolova
The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.
{"title":"War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)","authors":"O. Sokolova","doi":"10.25205/2307-1737-2019-2-229-248","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-229-248","url":null,"abstract":"The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312967","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-2-249-261
N. Petrova
The present paper is a continuation of the study of linguistic and cognitive properties of perspectivization treated as an inseparable part of the process of constructing of meaning in text and discourse. The author shows typological proximity of such terms as “perspectivization”, “image of the author” and “author’s intentionality”. The lyrics of the cult Bohemian Rhapsody serves an example of the effectiveness of the theory of pespectivization in tackling the problems of text polyphony and linguistic ambiguity.
{"title":"Linguistic and Cognitive Properties of the Process of Perspectivization in Contemporary Lyrics (On the Example of “Bohemian Rhapsody”)","authors":"N. Petrova","doi":"10.25205/2307-1737-2019-2-249-261","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-249-261","url":null,"abstract":"The present paper is a continuation of the study of linguistic and cognitive properties of perspectivization treated as an inseparable part of the process of constructing of meaning in text and discourse. The author shows typological proximity of such terms as “perspectivization”, “image of the author” and “author’s intentionality”. The lyrics of the cult Bohemian Rhapsody serves an example of the effectiveness of the theory of pespectivization in tackling the problems of text polyphony and linguistic ambiguity.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312979","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-2-47-63
T. Amiryan
In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.
{"title":"The Peculiarity of the Visual Autofiction of Sergei Parajanov","authors":"T. Amiryan","doi":"10.25205/2307-1737-2019-2-47-63","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-47-63","url":null,"abstract":"In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69313393","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-2-78-99
E. Guchinova
The article is devoted to the art of two outstanding artists – Sergey Paradzhanov (USSR) and Kazuki Yasuo (Japan). Sregey Paradjanov was convicted and spent five years in camps, Yasuo Kazuki found himself in a Soviet camp for prisoners of war. The humiliating experience of the imprisonment of artists was reflected in their works, which did not cease behind barbed wire. But both artists are united by the theme of human freedom in unfree conditions, where the boundaries of freedom can be outlined by the boundaries of a totalitarian state, and by military order at the front, and by barbed wire of a camp fence.Paradzhanov and his camp creativity and outlined – fenced open space. He and Kazuki used bricolage techniques, and the Japanese artist himself composed the composition of colors, since the factory colors do not convey the alien black sun. At the same time, their presence in fundamentally different camps (camps and GUPVI camps) was reflected in the portraits of the prisoners: Parajanov’s campers had no need to survive, and Parajanov painted their colorful faces, tired of hunger and excessive labor, Japanese prisoners of war depersonalized and Kazuki painted them with the same faces. By the way, bodily practices were different: Paradzhanov's fellow campers suffered from syphilis, and Kazuk's fellow campers suffered from dystrophy. Paradzhanov and Kazuki create dolls that, by their own genre, reflect the depersonalization process and the puppet dependence of man in the hands of a totalitarian state. However, the fact that after the camp they became different, that the camp experience remained with the artists forever reflected in their self-portraits and especially in the logo. Sergey Paradzhanov in his logo depicted not only his profile, but also a thumbprint inside the letter C., this shows the prisoner's fingerprint and his unique identity, as well as the barbed wire. Kazuki in his logo shows a self-portrait in which he removed all the details and instead of a human face the captive's working tool appears.
{"title":"Black Sun and Ring-Fenced Space: Images of Сaptivity in the Art of Sergey Parajanov and Kazuki Yasuo","authors":"E. Guchinova","doi":"10.25205/2307-1737-2019-2-78-99","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-78-99","url":null,"abstract":"The article is devoted to the art of two outstanding artists – Sergey Paradzhanov (USSR) and Kazuki Yasuo (Japan). Sregey Paradjanov was convicted and spent five years in camps, Yasuo Kazuki found himself in a Soviet camp for prisoners of war. The humiliating experience of the imprisonment of artists was reflected in their works, which did not cease behind barbed wire. But both artists are united by the theme of human freedom in unfree conditions, where the boundaries of freedom can be outlined by the boundaries of a totalitarian state, and by military order at the front, and by barbed wire of a camp fence.Paradzhanov and his camp creativity and outlined – fenced open space. He and Kazuki used bricolage techniques, and the Japanese artist himself composed the composition of colors, since the factory colors do not convey the alien black sun. At the same time, their presence in fundamentally different camps (camps and GUPVI camps) was reflected in the portraits of the prisoners: Parajanov’s campers had no need to survive, and Parajanov painted their colorful faces, tired of hunger and excessive labor, Japanese prisoners of war depersonalized and Kazuki painted them with the same faces. By the way, bodily practices were different: Paradzhanov's fellow campers suffered from syphilis, and Kazuk's fellow campers suffered from dystrophy. Paradzhanov and Kazuki create dolls that, by their own genre, reflect the depersonalization process and the puppet dependence of man in the hands of a totalitarian state. However, the fact that after the camp they became different, that the camp experience remained with the artists forever reflected in their self-portraits and especially in the logo. Sergey Paradzhanov in his logo depicted not only his profile, but also a thumbprint inside the letter C., this shows the prisoner's fingerprint and his unique identity, as well as the barbed wire. Kazuki in his logo shows a self-portrait in which he removed all the details and instead of a human face the captive's working tool appears.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69313516","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-2-158-170
L. Cherneyko
The paper proposes a nontrivial approach to the study of the mechanism of associating meanings and words in speech, which allows us to consider not their equal connection, but the projection of the unknown and/or incomprehensible to the elements of experience – a collective, molded in usual compatibility of language units, or an individual that creates occasional compatibility. The purpose of the study is to provide a detailed theoretical justification for the use of the term “projection” in cognitive linguistics and in cognitive poetics as an emerging paradigm of knowledge about the artistic text, as well as the term “projective meaning”, which allows us to approach such traditionally distinguished paths as metaphor, comparison and metamorphosis from a single point of view. The theoretical basis of the research is the concept of grammaticality of abstract substantives with secondary predicates developed by the author, the method of modeling culturally developed and artistic ideas on the abstract phenomenon calculated in projective meanings, and the principles of linguistic modeling of the semantic structure of artistic text. The argument of the relevance of the term “projection” in linguistics is based on the scientific achievements of domestic and foreign linguists, but the historical perspective requires recognition of the priority in developing a method that later received the name “conceptual analysis of the word” for such domestic linguists as A. Bely and V. A. Uspensky. In the mathematical term “projection”, which is adopted by linguistics relevant for cognitive science, the idea of dependence of the unknown on the known in the process of its mental development, as well as the idea of the “picture plane”, which can be interpreted as applied to linguistic tasks as an object plane filled with the results of everyday experience. Projective meanings (projectives) are proposed to be considered as sensual and logical images of an abstract phenomenon, in which its meaningful cultural profiles (sides, aspects) are conceptualized and which guide the compatibility of its name, and the set of projectives is a verifiable model of the content of an abstract name. The article proposes the establishment of similarity (by projectivity) of cognitive metaphors and comparisons and their cognitive and structural differences: logical redundancy of comparison and the logical need for a cognitive metaphor for the discursive existence of abstract names. In comparison, as a kind of widely understood metaphor, there is a “form-building instinct” (O. Mandelstam), in which knowledge prevails over vision, metaphysics over physics, individual over universal.
本文提出了一种非平凡的方法来研究言语中意义和词语的关联机制，它允许我们考虑的不是它们之间的平等联系，而是对经验元素的未知和/或不可理解的投射——一个集体，在语言单位的通常兼容性中塑造，或者一个偶尔创造兼容性的个体。本研究的目的是为认知语言学和认知诗学中“投射”一词作为一种新兴的艺术文本知识范式的使用提供详细的理论依据，以及“投射意义”一词的使用，这使我们能够从单一的角度来处理隐喻、比较和变形等传统上不同的路径。本文研究的理论基础是作者提出的抽象实体带副谓语的语法性概念、对投射意义计算的抽象现象进行文化发展和艺术思想建模的方法以及艺术文本语义结构的语言建模原则。关于“投射”一词在语言学中的相关性的争论是基于国内外语言学家的科学成就，但从历史的角度来看，需要认识到发展一种后来被称为“词的概念分析”的方法的优先性，如a . Bely和V. a . Uspensky等国内语言学家。在与认知科学相关的语言学所采用的数学术语“投射”中，在其心理发展过程中未知依赖于已知的概念，以及“画面平面”的概念，可以解释为应用于语言任务的对象平面，其中充满了日常经验的结果。投射意义(投射物)被认为是抽象现象的感性和逻辑图像，其中其有意义的文化轮廓(侧面，方面)被概念化并指导其名称的兼容性，投射物集是抽象名称内容的可验证模型。本文提出了认知隐喻和比较的相似性(通过投射性)的建立及其认知和结构上的差异:比较的逻辑冗余和抽象名称的话语存在对认知隐喻的逻辑需要。相比之下，作为一种被广泛理解的隐喻，有一种“建构形式的本能”(O. Mandelstam)，在这种本能中，知识胜过视觉，形而上学胜过物理，个体胜过普遍。
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-206-228
I. Zykova
The present paper aims to study the avant-grade manifesto as the manifesto of a new type and to analyze factors that establish the specificity of its poetics. The research shows that the specific character of the avant-garde manifesto’s poetics is provided by the phenomenon of avant-garde, peculiar ways of historical evolution of the manifesto as a literary genre, and pragmatic goals of the avant-garde manifesto that influence the choice of appropriate language means and artistic and linguistic devices. Special attention is paid to the theory and methodology of exploring the avant-garde manifesto’s poetics that are elaborated on the manifesto “The New Ways of the Word” written by Aleksej Kruchenykh. The methodology is complex and includes the method of frame semantics, the method of ID card of avant-garde idioms, the method of linguocultural reconstruction, and the quantitative analysis. The methodology involves a fivelevel analysis that includes: 1) the interpretive analysis of the title of the avant-garde manifesto; 2) the frame analysis of the text aimed to extract language units that are most relevant in conceptual and practical terms; 3) the study of figurative-expressive means of the text of the avant-garde manifesto; 4) quantitative analysis of idioms and phraseological units used in the text in question; 5) the study of the semantics of the avantgarde idioms and phraseological units. The results obtained let us draw the following deductions. The avant-garde idioms and phraseological units are the key constitutive elements shaping the poetics of the avant-garde manifesto. One of the basic techniques used to construct the poetics of the avant-garde manifesto is the conceptual-metaphorical collage.
{"title":"“The New Ways of the Word”: Theory and Methodology of Cognitive Research into Poetics of the Avant-Garde","authors":"I. Zykova","doi":"10.25205/2307-1737-2019-2-206-228","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-206-228","url":null,"abstract":"The present paper aims to study the avant-grade manifesto as the manifesto of a new type and to analyze factors that establish the specificity of its poetics. The research shows that the specific character of the avant-garde manifesto’s poetics is provided by the phenomenon of avant-garde, peculiar ways of historical evolution of the manifesto as a literary genre, and pragmatic goals of the avant-garde manifesto that influence the choice of appropriate language means and artistic and linguistic devices. Special attention is paid to the theory and methodology of exploring the avant-garde manifesto’s poetics that are elaborated on the manifesto “The New Ways of the Word” written by Aleksej Kruchenykh. The methodology is complex and includes the method of frame semantics, the method of ID card of avant-garde idioms, the method of linguocultural reconstruction, and the quantitative analysis. The methodology involves a fivelevel analysis that includes: 1) the interpretive analysis of the title of the avant-garde manifesto; 2) the frame analysis of the text aimed to extract language units that are most relevant in conceptual and practical terms; 3) the study of figurative-expressive means of the text of the avant-garde manifesto; 4) quantitative analysis of idioms and phraseological units used in the text in question; 5) the study of the semantics of the avantgarde idioms and phraseological units. The results obtained let us draw the following deductions. The avant-garde idioms and phraseological units are the key constitutive elements shaping the poetics of the avant-garde manifesto. One of the basic techniques used to construct the poetics of the avant-garde manifesto is the conceptual-metaphorical collage.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312913","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-1-254-274
A. B. Borisova
{"title":"Creativity of Arseny Nesmelov in Literary Aspect: History and Prospects of Research","authors":"A. B. Borisova","doi":"10.25205/2307-1737-2019-1-254-274","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-254-274","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310560","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 : 2019-01-01DOI: 10.25205/2307-1737-2019-1-320-328
I. V. Silantev
{"title":"Theory of Arts as a Popular Science Topic in the “Soviet Photo” Magazine","authors":"I. V. Silantev","doi":"10.25205/2307-1737-2019-1-320-328","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-320-328","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69311899","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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