By analyzing public accounts of the experiences of surrogates and intended parents, this article aims at identifying popular American discourses on surrogacy, which remains a contested assisted reproduction technology. Focusing on first-person narratives, I look at the strategies of rationalization employed by people entering commercial surrogacy contracts, particularly in relation to the monetary exchange. I argue that even though the ethics of financial compensation is not questioned in most narratives by surrogates and intended mothers, the normalizing discourse on American surrogacy requires the issue of money to be downplayed – instead surrogacy is presented as an altruistic “gift of life.”
{"title":"Storks and Jars: Within the World of Surrogacy Narratives","authors":"Olga Korytowska","doi":"10.7311/pjas.10/2016.10","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.10","url":null,"abstract":"By analyzing public accounts of the experiences of surrogates and intended parents, this article aims at identifying popular American discourses on surrogacy, which remains a contested assisted reproduction technology. Focusing on first-person narratives, I look at the strategies of rationalization employed by people entering commercial surrogacy contracts, particularly in relation to the monetary exchange. I argue that even though the ethics of financial compensation is not questioned in most narratives by surrogates and intended mothers, the normalizing discourse on American surrogacy requires the issue of money to be downplayed – instead surrogacy is presented as an altruistic “gift of life.”","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"58 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120896850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the manifestation of persuasion in political campaign advertising and the role of persuasion in the public’s consciousness. It is set in the context of the Reagan administration’s approach towards the Soviet Union and based on and clarified with illustrations drawn from the “Bear” commercial. The article applies Chaim Perelman and Lucie Olbrechts-Tyteca’s concepts of presence and communion to identify the means by which the public was provoked to give its assent to the president’s ideas and decide to act, and interprets the mechanisms behind the commercial in the light of Eric M. Eisenberg’s notion of strategic ambiguity.
本文考察了说服在政治竞选广告中的表现，以及说服在公众意识中的作用。它以里根政府对苏联的态度为背景，以“熊”广告中的插图为基础并加以澄清。本文运用Chaim Perelman和Lucie olbrecht - tyteca的存在和交流的概念来确定公众被激起同意总统的想法并决定采取行动的手段，并根据Eric M. Eisenberg的战略模糊性概念来解释商业广告背后的机制。
{"title":"Political Argumentation in Ronald Reagan’s “Bear” Commercial","authors":"M. Rzepecka","doi":"10.7311/pjas.10/2016.07","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.07","url":null,"abstract":"This article examines the manifestation of persuasion in political campaign advertising and the role of persuasion in the public’s consciousness. It is set in the context of the Reagan administration’s approach towards the Soviet Union and based on and clarified with illustrations drawn from the “Bear” commercial. The article applies Chaim Perelman and Lucie Olbrechts-Tyteca’s concepts of presence and communion to identify the means by which the public was provoked to give its assent to the president’s ideas and decide to act, and interprets the mechanisms behind the commercial in the light of Eric M. Eisenberg’s notion of strategic ambiguity.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"209 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132200172","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 article examines the compatibility of David L. Wolper’s adaptation of North and South (Book I and Book II) with Reaganite ideology. It discusses the modifications of the original text (characters and events) to demonstrate how a Civil War novel has been transformed into a mirror image of Reaganite America. Wolper’s TV adaptation forms part of Ronald Reagan’s governing narrative of building one and strong America. The positive investment in the past – sanitizing or eliminating socially divisive issues, such as slavery and promoting core values such as family – helps to reach the national consensus on history that everybody (Southerners and Northerners) can identify with. Wrapped in the 1980s aesthetics of opulence, Wolper’s adaptation conveys a message of America’s greatness, attainable under the Lincoln-Reagan rallying cry “we must all stand united as Americans.”
{"title":"ABC’s North and South (Book I and Book II) Miniseries as an Expression of Reaganite Ideology","authors":"Joanna Perzyna","doi":"10.7311/pjas.10/2016.06","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.06","url":null,"abstract":"The article examines the compatibility of David L. Wolper’s adaptation of North and South (Book I and Book II) with Reaganite ideology. It discusses the modifications of the original text (characters and events) to demonstrate how a Civil War novel has been transformed into a mirror image of Reaganite America. Wolper’s TV adaptation forms part of Ronald Reagan’s governing narrative of building one and strong America. The positive investment in the past – sanitizing or eliminating socially divisive issues, such as slavery and promoting core values such as family – helps to reach the national consensus on history that everybody (Southerners and Northerners) can identify with. Wrapped in the 1980s aesthetics of opulence, Wolper’s adaptation conveys a message of America’s greatness, attainable under the Lincoln-Reagan rallying cry “we must all stand united as Americans.”","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116984496","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 article examines the style of Samuel Blair, a revival preacher of the Great Awakening who has often been omitted in the studies on the colonial pulpit tradition. Two texts by Blair, a sermon (A Perswasive to Repentance, 1743) and a revival account (A Short and Faithful Narrative, 1744) are studied rhetorically and presented as representative of the “rhetoric of the revival,” a particular mode of preaching in which the speaker employs a wide array of rhetorical patterns, biblical innuendos and communicative strategies aimed at eliciting emotional responses.
{"title":"Sermons That “Cut Like a Sword”: Samuel Blair’s Rhetoric During\u0000the Great Awakening","authors":"M. Choiński","doi":"10.7311/pjas.10/2016.01","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.01","url":null,"abstract":"The article examines the style of Samuel Blair, a revival preacher of the Great Awakening who has often been omitted in the studies on the colonial pulpit tradition. Two texts by Blair, a sermon (A Perswasive to Repentance, 1743) and a revival account (A Short and Faithful Narrative, 1744) are studied rhetorically and presented as representative of the “rhetoric of the revival,” a particular mode of preaching in which the speaker employs a wide array of rhetorical patterns, biblical innuendos and communicative strategies aimed at eliciting emotional responses.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121574991","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}
J. D. Salinger’s classical initiation novel The Catcher in the Rye starts out with a scene of blatant rejection of traditional Hollywood movies. “If there’s one thing I hate,” the first-person narrator Holden Caulfield tells us in the book’s opening passage, “it’s the movies.” Despite – or maybe because of – this harsh initial claim, the novel continues to nourish the impression that the narrative voice is, in fact, enthralled by the world of cinema. In my essay, I will argue that the love-hate-relationship between the protagonist and the cinema is vital to an understanding of the literary aesthetics of The Catcher in the Rye. Furthermore, I want to show to what extent the paradoxical notion of resistance to / love of movie images is connected to the concept of juvenile rebellion cultivated throughout the novel. Interestingly enough, Catcher not only mimics its protagonist’s tentative acceptance of a “movie-made” environment. It also, quite literally, absorbs and reconstructs the aesthetic patterns attributed to cinema via its vivid re-enactment of the character’s personality. Cinematic texts, film scholar Vivian Sobchack holds, are capable of producing sensations in the audience that go far beyond the level of visualization. In The Catcher in the Rye, I argue, a “cinematic” process of involvement of the recipient is set in motion. The act of reading here becomes an act of passionate interaction with the novel which unleashes not only the figurative potential of the text but also the creative abilities of our own imagination. While perusing the novel, we are led to believe that we are actually there when Holden undertakes his odyssey through the city. By deploying sophisticated strategies of spontaneous activation and visceral involvement – techniques also used in film to achieve an effect of reality – the novel thus literally operates as a film.
{"title":"“One of Those Guys in the Movies”: Juvenile Rebellion and Carnal Subjectivity in J. D. Salinger’s The Catcher in the Rye","authors":"S. Brandt","doi":"10.7311/pjas.10/2016.04","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.04","url":null,"abstract":"J. D. Salinger’s classical initiation novel The Catcher in the Rye starts out with a scene of blatant rejection of traditional Hollywood movies. “If there’s one thing I hate,” the first-person narrator Holden Caulfield tells us in the book’s opening passage, “it’s the movies.” Despite – or maybe because of – this harsh initial claim, the novel continues to nourish the impression that the narrative voice is, in fact, enthralled by the world of cinema. In my\u0000essay, I will argue that the love-hate-relationship between the protagonist and the cinema is vital to an understanding of the literary aesthetics of The Catcher in the Rye. Furthermore, I want to show to what extent the paradoxical notion of resistance to / love of movie images is connected to the concept of juvenile rebellion cultivated throughout the novel. Interestingly enough, Catcher not only mimics its protagonist’s tentative acceptance of a “movie-made” environment. It also, quite literally, absorbs and reconstructs the aesthetic patterns attributed to cinema via its vivid re-enactment of the character’s personality. Cinematic texts, film scholar Vivian Sobchack holds, are capable of producing sensations in the audience that go far beyond the level of visualization. In The Catcher in the Rye, I argue, a “cinematic” process of involvement of the recipient is set in motion. The act of reading here becomes an act of passionate interaction with the novel which unleashes not only the figurative potential of the text but also the creative abilities of our own imagination. While perusing the novel, we are led to believe that we are actually there when Holden undertakes his odyssey through the city. By deploying sophisticated strategies of spontaneous activation and visceral involvement – techniques also used in film to achieve an effect of reality – the novel thus literally operates as a film.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128486442","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}
While much has been written on Disney’s America, the theme park the Walt Disney Company wanted to build in Virginia in 1993, the relation of the surrounding controversy to the ongoing Culture Wars in the US has only marginally been touched upon. This article therefore delves deeper into this crucial connection, as well as using these events as a case study to discuss the importance of edutainment, and the role that theme parks play for this similarly often-discussed issue.
{"title":"“Windows to the Past”: Disney’s America, the Culture Wars, and the\u0000Question of Edutainment","authors":"Sabrina Mittermeier","doi":"10.7311/pjas.10/2016.08","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.08","url":null,"abstract":"While much has been written on Disney’s America, the theme park the Walt Disney Company wanted to build in Virginia in 1993, the relation of the surrounding controversy to the ongoing Culture Wars in the US has only marginally been touched upon. This article therefore delves deeper into this crucial connection, as well as using these events as a case study to discuss the importance of edutainment, and the role that theme parks play for this similarly often-discussed issue.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"4 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113977058","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}
Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.
{"title":"Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery","authors":"Kacper Bartczak","doi":"10.7311/pjas.9/2015/4","DOIUrl":"https://doi.org/10.7311/pjas.9/2015/4","url":null,"abstract":"Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133359580","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}
Although historians recognize Deborah Franklin’s abilities and accomplishments, she invariably suffers in comparison with her famous husband. She seems to have shared the fate of Anne Bradstreet a century earlier, whose worldly spouse, Simon, for years remained object of his wife’s tender affection and dutiful supervision of his affairs. The article attempts to examine and evaluate Mrs. Franklin’s immeasurable contribution to the Franklin household and business, which enabled Benjamin to act on the international arena and indulge in the frivolities of the contemporary high life, against his egalitarian declarations.
{"title":"Be Colonial American Working Wife and Her Dear and Loving Husband Absent upon Some Public Employment: Deborah and Benjamin Franklin’s Married Life","authors":"Bożenna Chylińska","doi":"10.7311/pjas.9/2015/1","DOIUrl":"https://doi.org/10.7311/pjas.9/2015/1","url":null,"abstract":"Although historians recognize Deborah Franklin’s abilities and accomplishments, she invariably suffers in comparison with her famous husband. She seems to have shared the fate of Anne Bradstreet a century earlier, whose worldly spouse, Simon, for years remained object of his wife’s tender affection and dutiful supervision of his affairs. The article attempts to examine and evaluate Mrs. Franklin’s immeasurable contribution to the Franklin household and business, which enabled Benjamin to act on the international arena and indulge in the frivolities of the contemporary high life, against his egalitarian declarations.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128845316","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}
Allison Anders in Mi Vida Loca (1993) presents various aspects of gang life: from becoming a gang member, through various examples of female sisterhood and betrayal. Not resorting to gangxploitation, Mi Vida Loca is the “first commercial film to focus entirely on Chicana gang members” (Fregoso 97). Anders’s project, well-grounded and well-designed, attempts to do away with numerous stereotypes concerning homegirls in L.A. and to portray a credible picture of gang life in Echo Park. At the same time, Anders’s approach is relatively “partial in its one-sided view of la vida loca,” which inevitably leads to further stereotyping of Chicana homegirls (Fregoso 97). The purpose of the article is to analyze assets and disadvantages of Anders’s representation of Chicana female gang members focusing on the dynamics of the interplay between Hollywood (i.e. Anders’s project) and the barrio-in that case Echo Park, L.A.
{"title":"Cinematic Representations of Homegirls: Echo Park vs. Hollywood in Allison Anders’s Mi Vida Loca","authors":"Ewa Antoszek","doi":"10.7311/pjas.9/2015/8","DOIUrl":"https://doi.org/10.7311/pjas.9/2015/8","url":null,"abstract":"Allison Anders in Mi Vida Loca (1993) presents various aspects of gang life: from becoming a gang member, through various examples of female sisterhood and betrayal. Not resorting to gangxploitation, Mi Vida Loca is the “first commercial film to focus entirely on Chicana gang members” (Fregoso 97). Anders’s project, well-grounded and well-designed, attempts to do away with numerous stereotypes concerning homegirls\u0000in L.A. and to portray a credible picture of gang life in Echo Park. At the same time, Anders’s approach is relatively “partial in its one-sided view of la vida loca,” which inevitably leads to further stereotyping of Chicana homegirls (Fregoso 97). The purpose of the article is to analyze assets and disadvantages of Anders’s representation of Chicana female gang members focusing on the dynamics of the interplay between Hollywood (i.e. Anders’s project) and the barrio-in that case Echo Park, L.A.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128327310","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 article explores two poems by Hart Crane, “Interludium” and “To the Empress Josephine’s Statue,” both of which are examples of ekphrasis. Inspired by two sculptures of women, Gaston Lachaise’s La Montagne and Vital Debray’s statue of Joséphine de Beauharnais, the poems in question are at once representations of works of art and of femininity. It is as such that they are scrutinized in an analysis which focuses on poetry, the visual arts and femininity. The article deals with Crane’s use of ekphrasis as a genre, but also with his resections on time and space, the domains of poetry and sculpture respectively. It also delves into a number of connections evidenced in “Interludium” and “To the Empress Josephine’s Statue”: the one between creation and procreation, understood as maternity, and thus between art and femininity, as well as the ones between femininity on the one hand, and nature, mysticism, morality and history on the other.
这篇文章探讨了哈特·克兰的两首诗，《Interludium》和《To The Empress Josephine’s Statue》，这两首诗都是短语的例子。受到两个女性雕塑的启发，加斯顿·拉雪兹的《山岳》和维塔·德布雷的jossamphine de beauarnais雕像，这些诗歌同时代表了艺术作品和女性气质。正是因为如此，他们在分析中被仔细审查，重点是诗歌，视觉艺术和女性气质。本文不仅探讨了克兰对抒情诗的体裁运用，还探讨了他对时间和空间、诗歌和雕塑领域的分别解读。它还深入探讨了“Interludium”和“To the Empress Josephine’s Statue”所证明的一些联系:创造与生育之间的联系，被理解为母性，因此艺术与女性气质之间的联系，以及女性气质与自然、神秘主义、道德和历史之间的联系。
{"title":"Women and Sculptures: Femininity in Hart Crane’s Ekphrastic Poems","authors":"Alicja Piechucka","doi":"10.7311/pjas.9/2015/3","DOIUrl":"https://doi.org/10.7311/pjas.9/2015/3","url":null,"abstract":"The article explores two poems by Hart Crane, “Interludium” and “To the Empress Josephine’s Statue,” both of which are examples of ekphrasis. Inspired by two sculptures of women, Gaston Lachaise’s La Montagne and Vital Debray’s statue of Joséphine de Beauharnais, the poems in question are at once representations of works of art and of femininity. It is as such that they are scrutinized in an analysis which focuses on poetry, the visual arts and femininity. The article deals with Crane’s use of ekphrasis as a genre, but also with his resections on time and space, the domains of poetry and sculpture respectively. It also delves into a number of connections evidenced in “Interludium” and “To the Empress Josephine’s Statue”: the one between creation and procreation, understood as maternity, and thus between art and femininity, as well as the ones between femininity on the one hand, and nature, mysticism, morality and history on the other.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134157377","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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