This article explores the relationship between Bram Stoker’s Dracula, and its influence on video game narratives. Video game sales have increased significantly since the beginning of the Covid-19 pandemic. The influence of Stoker’s Dracula and the narratives of vampire and pandemic video games is important, since some popular games are explicitly centred around pandemics and vampires, and are being played during the Covid-19 pandemic. The article explores the historical connection between epidemics and the vampire myth, and how that influenced the narrative of Dracula, especially the connection between the influence of cholera and his upbringing in Ireland. It then examines how the narrative has been influential in video game narratives. Finally, the article touches on how video games with pandemic themes may be used by a player to find a sense of control, explore difficult narratives in a structured environment, and explore various points of view and catharsis.
{"title":"Bram Stoker’s Dracula and Video Game Narratives: Pandemic Themes in Covid Times","authors":"Vanessa L. Haddad","doi":"10.12697/il.2022.27.1.5","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.5","url":null,"abstract":"This article explores the relationship between Bram Stoker’s Dracula, and its influence on video game narratives. Video game sales have increased significantly since the beginning of the Covid-19 pandemic. The influence of Stoker’s Dracula and the narratives of vampire and pandemic video games is important, since some popular games are explicitly centred around pandemics and vampires, and are being played during the Covid-19 pandemic. The article explores the historical connection between epidemics and the vampire myth, and how that influenced the narrative of Dracula, especially the connection between the influence of cholera and his upbringing in Ireland. It then examines how the narrative has been influential in video game narratives. Finally, the article touches on how video games with pandemic themes may be used by a player to find a sense of control, explore difficult narratives in a structured environment, and explore various points of view and catharsis.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43723301","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 pandemic, which has affected the whole world and has many victims, changing our lifestyle and having its own narrative structure that would be interesting to retrace. Undoubtedly, despite science fiction getting us used to dystopian and apocalyptic scenarios, the sudden epidemiological emergency caught us unprepared. We could hardly have thought of suddenly giving up habits that we considered consolidated, such as being able to travel, meet friends, gather in public places, go to a restaurant, go to school. The pandemic suddenly cancelled all of this. But what caused this pandemic? Perhaps a simple virus from an Asian wet market? Perhaps the extreme connectivity of the human network? Perhaps the ecological alterations we have caused? Or is the pandemic the result of a deeper cultural crisis?
{"title":"Paralipomena of a Pandemic","authors":"Roberto Marchesini","doi":"10.12697/il.2022.27.1.8","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.8","url":null,"abstract":"The pandemic, which has affected the whole world and has many victims, changing our lifestyle and having its own narrative structure that would be interesting to retrace. Undoubtedly, despite science fiction getting us used to dystopian and apocalyptic scenarios, the sudden epidemiological emergency caught us unprepared. We could hardly have thought of suddenly giving up habits that we considered consolidated, such as being able to travel, meet friends, gather in public places, go to a restaurant, go to school. The pandemic suddenly cancelled all of this. But what caused this pandemic? Perhaps a simple virus from an Asian wet market? Perhaps the extreme connectivity of the human network? Perhaps the ecological alterations we have caused? Or is the pandemic the result of a deeper cultural crisis?","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47644513","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}
At the end of Sigrid Undset’s medieval trilogy Kristin Lavransdatter (1920–1922), the heroine encounters the bubonic plague that so violently hit Europe in the mid-fourteenth century. The aim of this paper is to explore the connections between the 20th century novel and the European tradition of plague literature from the broader perspective of environmental history. Furthermore, it discusses the historical novel’s effect as a distant mirror for 20th and 21st century readers. An underlying argument is that the ethical imperative in Kristin Lavransdatter is affecting the way the protagonist encounters the plague, which may explain what distinguishes Undset from many of her contemporaries.
{"title":"Facing the Black Death: Sigrid Undset’s Kristin Lavransdatter in Times of Pandemics","authors":"Sissel Furuseth","doi":"10.12697/il.2022.27.1.6","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.6","url":null,"abstract":"At the end of Sigrid Undset’s medieval trilogy Kristin Lavransdatter (1920–1922), the heroine encounters the bubonic plague that so violently hit Europe in the mid-fourteenth century. The aim of this paper is to explore the connections between the 20th century novel and the European tradition of plague literature from the broader perspective of environmental history. Furthermore, it discusses the historical novel’s effect as a distant mirror for 20th and 21st century readers. An underlying argument is that the ethical imperative in Kristin Lavransdatter is affecting the way the protagonist encounters the plague, which may explain what distinguishes Undset from many of her contemporaries.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49644717","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}
Pandemics not only challenge health systems and the economy, they also deeply transform our everyday lives and the ways in which we coexist. People have to find new definitions of what it means to be close to one another, to show empathy and to comfort each other. With social distancing, we must learn how to use digital technologies to create novel forms of closeness. Viruses becomes the new other, alien forces that invisibly permeate social life. They find hosts predominantly in the places where humans get close to each other. Rituals such as eating, drinking, and dancing are the links that hold an otherwise largely disembodied culture together. I will combine a perspective on human cognitive evolution as an embodied process, the hedonist drive towards bodily encounter in Sigmund Freud’s sense and the development of technology and the current tendency toward a culture of disembodiment. The article asks what the role of bodily ritual is in public space. Here I will argue that this is a vital role because it is the only way to create feelings of resonance and connectedness amongst larger groups of people. The pandemic prohibits these rituals, so we need to ask further: Does the pandemic lead to new forms of being together? This is closely linked to the accelerated development of technology. The more precise question is: Does technology afford new forms of embodiment? My aim is to introduce ideas of philosophical posthumanism to think in a productive way about incorporating technology in order to satisfy human needs for contact and resonance.
{"title":"Rituals of Coexistence: Bodies and Technology during Pandemics","authors":"Yvonne Förster","doi":"10.12697/il.2022.27.1.9","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.9","url":null,"abstract":"Pandemics not only challenge health systems and the economy, they also deeply transform our everyday lives and the ways in which we coexist. People have to find new definitions of what it means to be close to one another, to show empathy and to comfort each other. With social distancing, we must learn how to use digital technologies to create novel forms of closeness. Viruses becomes the new other, alien forces that invisibly permeate social life. They find hosts predominantly in the places where humans get close to each other. Rituals such as eating, drinking, and dancing are the links that hold an otherwise largely disembodied culture together. I will combine a perspective on human cognitive evolution as an embodied process, the hedonist drive towards bodily encounter in Sigmund Freud’s sense and the development of technology and the current tendency toward a culture of disembodiment. The article asks what the role of bodily ritual is in public space. Here I will argue that this is a vital role because it is the only way to create feelings of resonance and connectedness amongst larger groups of people. The pandemic prohibits these rituals, so we need to ask further: Does the pandemic lead to new forms of being together? This is closely linked to the accelerated development of technology. The more precise question is: Does technology afford new forms of embodiment? My aim is to introduce ideas of philosophical posthumanism to think in a productive way about incorporating technology in order to satisfy human needs for contact and resonance.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46667259","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}
Set in the ongoing Kellis-Amberlee pandemic, Mira Grant’s zombie adventure series Newsflesh (2010–2016) conjoins knowledge-power with the physical and technological apparatuses of control for a group of narratives that place citizens against the government. The ongoing apocalypse is untenable, as exemplified in the radically constricted lives most people live in efforts to protect themselves from people or other mammals who have been transformed into zombies by the virus. This constriction, and therefore the extension of government framing of the pandemic as a crisis condition, consolidates power in the hands of a CDC (Centers for Disease Control and Prevention) that is actively and secretly working to eliminate human adaptive responses to the virus. “Physical Isolation and Viral Information in Mira Grant’s Newsflesh” explores the connections between knowledge, scientific authority, physical distancing, and collective action. Given the figural power of zombies, the apparatuses for control of the vulnerable and dangerous bodies in this uncontrolled pandemic substitute – and obscure the need for – widespread sharing not only of facts but of understanding the implications of those facts. Two decades of misinformation and fear campaigns, in Newsflesh, trampled the legacy of “the Rising” and transformed the survivors from collective actors who shared what they learned in their attempts to stay alive into fearful isolationists who lack the knowledge to exercise power or enact community. The abuses of power discovered by the characters in these texts point to possible ways of not merely surviving but of living amid the zombie pandemic.
{"title":"Physical Isolation and Viral Information in Mira Grant’s Newsflesh Stories","authors":"Jenni G. Halpin","doi":"10.12697/il.2022.27.1.4","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.4","url":null,"abstract":"Set in the ongoing Kellis-Amberlee pandemic, Mira Grant’s zombie adventure series Newsflesh (2010–2016) conjoins knowledge-power with the physical and technological apparatuses of control for a group of narratives that place citizens against the government. The ongoing apocalypse is untenable, as exemplified in the radically constricted lives most people live in efforts to protect themselves from people or other mammals who have been transformed into zombies by the virus. This constriction, and therefore the extension of government framing of the pandemic as a crisis condition, consolidates power in the hands of a CDC (Centers for Disease Control and Prevention) that is actively and secretly working to eliminate human adaptive responses to the virus. \u0000“Physical Isolation and Viral Information in Mira Grant’s Newsflesh” explores the connections between knowledge, scientific authority, physical distancing, and collective action. Given the figural power of zombies, the apparatuses for control of the vulnerable and dangerous bodies in this uncontrolled pandemic substitute – and obscure the need for – widespread sharing not only of facts but of understanding the implications of those facts. Two decades of misinformation and fear campaigns, in Newsflesh, trampled the legacy of “the Rising” and transformed the survivors from collective actors who shared what they learned in their attempts to stay alive into fearful isolationists who lack the knowledge to exercise power or enact community. The abuses of power discovered by the characters in these texts point to possible ways of not merely surviving but of living amid the zombie pandemic.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42512661","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 paper deals with the Gothic elements in the representation of a pandemic based on the 1983 novel Besnilo (‘Rabies’) by Serbian author Borislav Pekic. The authors start from the premise that the elements ‘borrowed’ from the Gothic genre play a key role in creating the main plot of the novel: a catastrophe caused by an extremely contagious and deadly man-manipulated version of the rabies virus. The theoretical framework is based on Fred Botting’s (1995) and Jerrold E. Hogle’s (2002) views of Gothic writing as a diffused mode that exceeds genres and categories and contributes its various elements to various literary forms. Furthermore, Gothic elements characteristic of Gothic science fiction, such as madness, monstrosity, the Mad Scientist, people meddling with nature with catastrophic consequences, the apocalyptic vision of human future and “the removal of man from his natural, living state and entry instead into a state of being neither completely human or monster, and neither fully alive or completely dead” (MacArthur 2015: 79) are traced in the novel and analysed in the context of literary representations of a pandemic. As Pekic’s novel is a mixture of various genres and is often defined and described as a horror thriller novel, an attempt is made to offer a new reading that would consider its constituent Gothic elements against a backdrop of the deeply and inherently human drama of the everlasting struggle between good and evil. Thus, pandemics are represented as a kind of catalyst that exposes both deeply human and rational, and deeply inhuman and irrational, impulses, leaving the final outcome of that struggle uncertain.
本文讨论了塞尔维亚作家鲍里斯拉夫·佩基奇(Borislav Pekic)于1983年出版的小说《狂犬病》(Besnilo)所描绘的大流行中的哥特式元素。作者从一个前提出发,即从哥特式小说中“借用”的元素在小说的主要情节中发挥了关键作用:一场由一种极具传染性和致命的人为狂犬病病毒引起的灾难。理论框架是基于Fred Botting(1995)和Jerrold E. Hogle(2002)的观点,即哥特写作是一种超越类型和类别的扩散模式,并将其各种元素贡献给各种文学形式。此外,哥特式科幻小说的哥特式元素,如疯狂,怪物,疯狂的科学家,人们对自然的干预和灾难性的后果,人类未来的世界末日愿景,以及“将人从自然的生活状态中移除,进入一种既不是完全的人也不是怪物,既不是完全活着也不是完全死亡的状态”(MacArthur 2015):79)在小说中被追溯,并在大流行的文学表现的背景下被分析。由于Pekic的小说是多种体裁的混合体,通常被定义为恐怖惊悚小说,因此我们试图提供一种新的阅读方式,将其构成的哥特式元素与人类内心深处的善与恶之间永恒斗争的戏剧作为背景。因此,大流行病被描述为一种催化剂,它暴露了人性和理性、人性和非理性的冲动,使斗争的最终结果不确定。
{"title":"Gothic Elements in Representations of a Pandemic: Borislav Pekic’s Rabies","authors":"Ana Kocić Stanković, M. Mitić","doi":"10.12697/il.2022.27.1.3","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.3","url":null,"abstract":"The paper deals with the Gothic elements in the representation of a pandemic based on the 1983 novel Besnilo (‘Rabies’) by Serbian author Borislav Pekic. The authors start from the premise that the elements ‘borrowed’ from the Gothic genre play a key role in creating the main plot of the novel: a catastrophe caused by an extremely contagious and deadly man-manipulated version of the rabies virus. The theoretical framework is based on Fred Botting’s (1995) and Jerrold E. Hogle’s (2002) views of Gothic writing as a diffused mode that exceeds genres and categories and contributes its various elements to various literary forms. Furthermore, Gothic elements characteristic of Gothic science fiction, such as madness, monstrosity, the Mad Scientist, people meddling with nature with catastrophic consequences, the apocalyptic vision of human future and “the removal of man from his natural, living state and entry instead into a state of being neither completely human or monster, and neither fully alive or completely dead” (MacArthur 2015: 79) are traced in the novel and analysed in the context of literary representations of a pandemic. As Pekic’s novel is a mixture of various genres and is often defined and described as a horror thriller novel, an attempt is made to offer a new reading that would consider its constituent Gothic elements against a backdrop of the deeply and inherently human drama of the everlasting struggle between good and evil. Thus, pandemics are represented as a kind of catalyst that exposes both deeply human and rational, and deeply inhuman and irrational, impulses, leaving the final outcome of that struggle uncertain.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48662509","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":"Introduction. Pandemics in the Western Literature and Culture (20th–21st centuries)","authors":"Peggy Karpouzou, Nikoleta Zampaki","doi":"10.12697/il.2022.27.1.2","DOIUrl":"https://doi.org/10.12697/il.2022.27.1.2","url":null,"abstract":"","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43132521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.12697/il.2021.26.2.10
Anneli Niinre
Abstract. The archetypal fear of the other and the idea that it is safer to hold on to the familiar are the central topics discussed in one of the best plays in Estonian literature Libahunt (The Werewolf, 1912) by August Kitzberg (1855– 1927). Although the play was written at the beginning of the 20th century, it is still open to interpretation and has not lost its relevance. It is a play about conflict between values: the Tammaru family is conservative and afraid of strangers, of foreign blood, while one of their foster children Tiina is a free spirit whose appearance and nature is different from the family. She is not one of the villagers, she is an outsider and the family and the villagers are afraid of her. This stranger is seen as mysterious and dangerous – she is said to be a werewolf – and the xenophobic village casts her out. Using imagology as a theoretical basis, the article concentrates on the aspect of the foreigner and on fear of the other.
{"title":"Who’s Afraid of the Werewolf? An Imagological View of Kitzberg’s Play","authors":"Anneli Niinre","doi":"10.12697/il.2021.26.2.10","DOIUrl":"https://doi.org/10.12697/il.2021.26.2.10","url":null,"abstract":"Abstract. The archetypal fear of the other and the idea that it is safer to hold on to the familiar are the central topics discussed in one of the best plays in Estonian literature Libahunt (The Werewolf, 1912) by August Kitzberg (1855– 1927). Although the play was written at the beginning of the 20th century, it is still open to interpretation and has not lost its relevance. It is a play about conflict between values: the Tammaru family is conservative and afraid of strangers, of foreign blood, while one of their foster children Tiina is a free spirit whose appearance and nature is different from the family. She is not one of the villagers, she is an outsider and the family and the villagers are afraid of her. This stranger is seen as mysterious and dangerous – she is said to be a werewolf – and the xenophobic village casts her out. Using imagology as a theoretical basis, the article concentrates on the aspect of the foreigner and on fear of the other.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45155631","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":"Introduction: Texts and Theories of Travel","authors":"Shang-Lin Wu","doi":"10.12697/il.2021.26.2.2","DOIUrl":"https://doi.org/10.12697/il.2021.26.2.2","url":null,"abstract":"Introduction: Texts and Theories of Travel \u0000 ","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45819328","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}
Abstract: The intersection of the study of travel writing and the study of translation produces two major perspectives: travel writing in translation and translation in travel writing. The first one looks into how the travel narrative is reshaped in a different linguistic and cultural context; the other looks into the translational character of the travel narrative, as the traveller is constantly moving between languages and cultures. Though the conceptual analogy between traveller and translator has been long noted, the linguistic dimension that marks the language difference in travel narrative is rarely underlined. In this essay, in order to explore the possibility of foregrounding both the conceptual link between travel and translation and the linguistic dimension of travel narrative, I propose to integrate an attention to language difference into a reinvention of the contested yet promising term ‘cultural translation’. The American writer Peter Hessler’s travel account Country Driving is cited as a case study.
{"title":"Writing Travel as Janus: Cultural Translation as Descriptive Category for Travel Writing","authors":"Shang-Lin Wu","doi":"10.12697/il.2021.26.2.6","DOIUrl":"https://doi.org/10.12697/il.2021.26.2.6","url":null,"abstract":"Abstract: The intersection of the study of travel writing and the study of translation produces two major perspectives: travel writing in translation and translation in travel writing. The first one looks into how the travel narrative is reshaped in a different linguistic and cultural context; the other looks into the translational character of the travel narrative, as the traveller is constantly moving between languages and cultures. Though the conceptual analogy between traveller and translator has been long noted, the linguistic dimension that marks the language difference in travel narrative is rarely underlined. In this essay, in order to explore the possibility of foregrounding both the conceptual link between travel and translation and the linguistic dimension of travel narrative, I propose to integrate an attention to language difference into a reinvention of the contested yet promising term ‘cultural translation’. The American writer Peter Hessler’s travel account Country Driving is cited as a case study.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44132308","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}