{"title":"Updating Records of Nazi Art Looting from an Art Dealer’s Archive: A Case Study from Gustav Cramer’s Archive at the Getty","authors":"Isabella Zuralski-Yeager","doi":"10.1086/702754","DOIUrl":"https://doi.org/10.1086/702754","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"197 - 212"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702754","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46489924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
107 The Event Form Early indications of what the public could expect at documenta 5 were revealed on the cover of the May/June 1970 issue of Informationen (fig. 1), a seasonal brochure on local culture in and around the city of Kassel, Germany, where the famed quinquennial contemporary art exhibition was established in 1955. In a brief schematic outline, Harald Szeemann (fig. 2), the newly appointed general secretary of documenta 5, along with a few collaborators whom he had selected to help with the organization of the show, gave a brief explanation of the approach to the next Kassel mega-exhibition. Their documenta, as the brochure makes abundantly clear, would distinguish itself from its predecessors by embracing an “event structure” (Ereignisstruktur). More than the proposal itself, a graphic featured above the text illustrated this ambition. In a large black field, “documenta IV” appeared in big white letters, but the “IV” was struck through and a “V” was printed above it. Beneath this, “Museum der 100 Tage” (100-day museum), the traditional length of the exhibition and its de facto tagline, was printed, but only “100 Tage” remained; “Museum der” was struck through and “Ereignis” (event) was added next to and slightly above the previous motto. From “Museum der 100 Tage,” the “100 Tage Ereignis” (100-day event) was born. By depicting the first conceptual proposal for the exhibition in this way, Szeemann and his coorganizers signaled that documenta 5 would constitute an assertive departure from the format and structure of the past exhibitions. Specifically, Szeemann wished to break down the traditional media distinctions and the privileging of painting and sculpture that the previous documentas had maintained. This intention also stemmed from a desire to move away from abstract painting, metonymy for modern art itself in much of the capitalist West (especially West Germany). Documenta had been a primary conduit through which abstraction had achieved broad cultural supremacy. At the first several documentas, the art historian and coorganizer of the shows Werner Haftmann had popularized the idea of abstraction as a “world language” (Weltsprache), a concept that the exhibition’s founder, the local Kassel artist and curator Arnold Bode, had also embraced.1 At the same time, as aggressive as the striking through of the motto of the past documentas appeared, Szeemann did not outright discard it; rather, he reformatted it into a new Harald Szeemann and the Road Back to the Museum
从1970年5月/ 6月号的《Informationen》(图1)封面上可以初步看出公众对第5届文献展的期待。《Informationen》是一本关于德国卡塞尔市及其周边地区文化的季节性小册子，1955年，著名的五年一度的当代艺术展览在卡塞尔市举办。第5届文献展新任秘书长哈拉尔德·塞曼(Harald Szeemann)(图2)与他挑选的几位合作者一起简要介绍了下一届卡塞尔大型展览的方案。他们的文献展，正如宣传册上写得非常清楚的那样，将通过采用“事件结构”(ereignisstrucktur)来区别于以往的文献展。除了提案本身，文本上方的图形还说明了这一雄心。在黑色的一大片区域里，出现了几个白色的大字“documenta IV”，但“IV”被划掉了，上面印着一个“V”。下面印着“100天博物馆”(Museum der 100 Tage)，这是展览的传统长度和事实上的口号，但只剩下“100天”;“博物馆”(Museum der)被删掉，“事件”(Ereignis)被添加到前面的座右铭旁边和略高于前面的地方。从“100天博物馆”开始，“100天活动”诞生了。通过以这种方式描绘展览的第一个概念建议，塞曼和他的合作者表明，第5届文献展将构成对过去展览形式和结构的坚定背离。具体来说，塞曼希望打破以往文献展所保持的传统媒介的区别和绘画和雕塑的特权。这一意图也源于摆脱抽象画的愿望，抽象画是西方资本主义国家(尤其是西德)现代艺术本身的代名词。文献展一直是抽象主义获得广泛文化霸权的主要渠道。在最初的几届文献展上，艺术史学家、展览的共同组织者维尔纳·哈夫特曼(Werner Haftmann)普及了抽象作为“世界语言”(Weltsprache)的概念，展览的创始人、当地卡塞尔艺术家和策展人阿诺德·博德(Arnold Bode)也接受了这个概念与此同时，尽管塞曼对过去文献展的座右铭进行了激进的抨击，但他并没有完全抛弃它;相反，他把它改造成了一个新的哈拉尔德·塞曼和回到博物馆的路
{"title":"Harald Szeemann and the Road Back to the Museum","authors":"Max Rosenberg","doi":"10.1086/702750","DOIUrl":"https://doi.org/10.1086/702750","url":null,"abstract":"107 The Event Form Early indications of what the public could expect at documenta 5 were revealed on the cover of the May/June 1970 issue of Informationen (fig. 1), a seasonal brochure on local culture in and around the city of Kassel, Germany, where the famed quinquennial contemporary art exhibition was established in 1955. In a brief schematic outline, Harald Szeemann (fig. 2), the newly appointed general secretary of documenta 5, along with a few collaborators whom he had selected to help with the organization of the show, gave a brief explanation of the approach to the next Kassel mega-exhibition. Their documenta, as the brochure makes abundantly clear, would distinguish itself from its predecessors by embracing an “event structure” (Ereignisstruktur). More than the proposal itself, a graphic featured above the text illustrated this ambition. In a large black field, “documenta IV” appeared in big white letters, but the “IV” was struck through and a “V” was printed above it. Beneath this, “Museum der 100 Tage” (100-day museum), the traditional length of the exhibition and its de facto tagline, was printed, but only “100 Tage” remained; “Museum der” was struck through and “Ereignis” (event) was added next to and slightly above the previous motto. From “Museum der 100 Tage,” the “100 Tage Ereignis” (100-day event) was born. By depicting the first conceptual proposal for the exhibition in this way, Szeemann and his coorganizers signaled that documenta 5 would constitute an assertive departure from the format and structure of the past exhibitions. Specifically, Szeemann wished to break down the traditional media distinctions and the privileging of painting and sculpture that the previous documentas had maintained. This intention also stemmed from a desire to move away from abstract painting, metonymy for modern art itself in much of the capitalist West (especially West Germany). Documenta had been a primary conduit through which abstraction had achieved broad cultural supremacy. At the first several documentas, the art historian and coorganizer of the shows Werner Haftmann had popularized the idea of abstraction as a “world language” (Weltsprache), a concept that the exhibition’s founder, the local Kassel artist and curator Arnold Bode, had also embraced.1 At the same time, as aggressive as the striking through of the motto of the past documentas appeared, Szeemann did not outright discard it; rather, he reformatted it into a new Harald Szeemann and the Road Back to the Museum","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"107 - 132"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702750","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45901009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra
161 .下面的故事是关于两个恋人的故事，一个是印加人ñusta(公主)丘基兰托，另一个是卑微的牧羊人阿科伊特帕拉。故事发生在17世纪初的秘鲁殖民地。这个故事的意义是有层次的，它是由两个背景截然不同的人写的和画的:一个是安第斯当地人的图画，一个是西班牙修士的文字。虽然这些图像通过阐明书面故事中的事件来补充文本，但艺术家运用他对安第斯土著信仰体系和印加视觉文化的了解，在插图中插入了额外的含义，并在视觉上传达了西班牙作者无法做到的事情。尽管两位作者最终都得出了相同的结论——Acoytapra和Chuquillanto的关系是不可能的——但他们各自看重这个结果的原因各不相同。他们对这个传说的不同解读有助于我们了解每个作者是如何利用这个故事来推进自己的意识形态和使命的。此外，插画家在复述这个神话中的角色表明了一个土著艺术家和作家如何与西班牙当局谈判他的关系，并在殖民背景下坚持他的土著知识。下面是这个故事的摘要Ficción y suesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto， ñusta, hija del sol(一个著名的牧羊人的传说和故事，名叫伟大的Acoytapra和美丽而谨慎的公主Chuquillanto，太阳的女儿)。一天，牧羊人阿科塔帕拉正在放羊，太阳的两个女儿意外地走近他。老大丘基兰托(Chuquillanto)被牧羊人吸引住了，牧羊人额头上戴着一个canipu(银垂饰)，上面画着两个犁头在吃一颗心。他告诉丘基兰托，它被称为utusi，叙述者解释说，这可能是一个俚语，指生殖器的一部分，一个由恋人发明的古老词汇。她对他奇怪的装饰很感兴趣，并和她的妹妹谈论牧羊人，直到回到宫殿。那天晚上，丘基兰托没有胃口，不停地想着牧羊人。当她终于睡着时，她梦见一只夜莺飞到她的腿上，对她说话。丘基兰托向鸟儿解释说，只有当她追求对牧羊人的爱时，她的病痛才能被治愈，但如果她这样做，她的父亲会杀了她。安第斯山脉的禁忌之爱:Murúa和瓜曼波马重新讲述丘基兰托和阿科塔帕拉的神话
{"title":"Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra","authors":"Alicia Maria Houtrouw","doi":"10.1086/702752","DOIUrl":"https://doi.org/10.1086/702752","url":null,"abstract":"161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"161 - 184"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45565261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Artists: Three Yearbooks (1938, 1939, 1946), unpaginated. 25. Irving Sandler, Abstract Expressionism: The Triumph of American Painting (London: Pall Mall,
{"title":"“First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937","authors":"Elke Seibert","doi":"10.1086/702747","DOIUrl":"https://doi.org/10.1086/702747","url":null,"abstract":"Artists: Three Yearbooks (1938, 1939, 1946), unpaginated. 25. Irving Sandler, Abstract Expressionism: The Triumph of American Painting (London: Pall Mall,","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"17 - 38"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44288234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
213 What, in Germany in 2018, is the state of research into the provenance of expropriated cultural property within the context of National Socialist (Nazi) persecution? How have we arrived at this situation? What remains to be done? These three questions determine the structure of this essay, which looks exclusively at public institutions; that is, to the greatest possible extent it steers clear of the realm of private collectors and the art trade, including auction houses and art dealers. The focus here is primarily on the German Bund (the national government), Länder (states), and Kommunen (local authorities), and our thesis concludes that we need to reflect more intensively on the premises, structures, and procedures in these areas. Do we—as art historians and provenance researchers—have at our disposal the research infrastructure that is necessary for us to meet the current and forthcoming challenges? Are we capable of dealing effectively with the contexts of injustice relating to acquisition and translocation processes? Let us begin the discussion with a review of the developments that have—and have not—taken place up to now.
{"title":"Rethinking Provenance Research","authors":"C. Fuhrmeister, Meike Hopp","doi":"10.1086/702755","DOIUrl":"https://doi.org/10.1086/702755","url":null,"abstract":"213 What, in Germany in 2018, is the state of research into the provenance of expropriated cultural property within the context of National Socialist (Nazi) persecution? How have we arrived at this situation? What remains to be done? These three questions determine the structure of this essay, which looks exclusively at public institutions; that is, to the greatest possible extent it steers clear of the realm of private collectors and the art trade, including auction houses and art dealers. The focus here is primarily on the German Bund (the national government), Länder (states), and Kommunen (local authorities), and our thesis concludes that we need to reflect more intensively on the premises, structures, and procedures in these areas. Do we—as art historians and provenance researchers—have at our disposal the research infrastructure that is necessary for us to meet the current and forthcoming challenges? Are we capable of dealing effectively with the contexts of injustice relating to acquisition and translocation processes? Let us begin the discussion with a review of the developments that have—and have not—taken place up to now.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"213 - 231"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702755","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42657100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Set of Eight Gurkha Campaign Copperplate Prints","authors":"Niklas Leverenz","doi":"10.1086/702753","DOIUrl":"https://doi.org/10.1086/702753","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"185 - 196"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702753","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43219321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
133 The Italian architect Aldo Rossi’s second book, A Scientific Autobiography (1981), does not make for an easy read. It has no clear exposition or organization, meandering instead through readings of the postwar European landscape, making connections between the works of other artists and scholars and his own childhood memories. A brief preface introduces the project as an impossible effort to track the influence of small experiences on the development of the architect’s craft—a paean to the “disorder of things.”1 It is the type of book that one might open to any number of pages and have a similarly pleasant, if disorienting, reading experience—more like an Oulipo tone poem than an architectural manifesto. When his slippery indefinite articles momentarily bring building, life, and memory into alignment, however, it can be sublime in its associative pursuit of meaning. Some of the most powerful passages revolve around the architect’s recovery from a life-threatening car accident. Confined to his hospital bed, Rossi jotted down the notes that would shape his best-known built project, the stark and cavernous San Cataldo Ceme tery (fig. 1). What follows seems intended to provide insight into that project’s formation. He considers the architectural expression of his condition, including abstractions of prone bodies such as those on the facade of the convent of Santa Clara at Santiago de Compostela in Galicia (fig. 2). The building, he writes, expands on the iconographic tradition of the deposition of Christ; its overscaled, anthropomorphic decoration works to produce an embodied response in viewers. The modeling effects of light on the sculptural facade are then compared, in short order, with the work of the divisionist painter Angelo Morbelli. The artist was best known for his light-filled meditations on the end of life, set in hospitals and retirement centers—much like the one in which Rossi was convalescing (fig. 3). Rossi writes:
{"title":"“Alcuni dei miei progetti”: Aldo Rossi and the Editorial Impulse","authors":"Maura Lucking","doi":"10.1086/702751","DOIUrl":"https://doi.org/10.1086/702751","url":null,"abstract":"133 The Italian architect Aldo Rossi’s second book, A Scientific Autobiography (1981), does not make for an easy read. It has no clear exposition or organization, meandering instead through readings of the postwar European landscape, making connections between the works of other artists and scholars and his own childhood memories. A brief preface introduces the project as an impossible effort to track the influence of small experiences on the development of the architect’s craft—a paean to the “disorder of things.”1 It is the type of book that one might open to any number of pages and have a similarly pleasant, if disorienting, reading experience—more like an Oulipo tone poem than an architectural manifesto. When his slippery indefinite articles momentarily bring building, life, and memory into alignment, however, it can be sublime in its associative pursuit of meaning. Some of the most powerful passages revolve around the architect’s recovery from a life-threatening car accident. Confined to his hospital bed, Rossi jotted down the notes that would shape his best-known built project, the stark and cavernous San Cataldo Ceme tery (fig. 1). What follows seems intended to provide insight into that project’s formation. He considers the architectural expression of his condition, including abstractions of prone bodies such as those on the facade of the convent of Santa Clara at Santiago de Compostela in Galicia (fig. 2). The building, he writes, expands on the iconographic tradition of the deposition of Christ; its overscaled, anthropomorphic decoration works to produce an embodied response in viewers. The modeling effects of light on the sculptural facade are then compared, in short order, with the work of the divisionist painter Angelo Morbelli. The artist was best known for his light-filled meditations on the end of life, set in hospitals and retirement centers—much like the one in which Rossi was convalescing (fig. 3). Rossi writes:","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"133 - 159"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702751","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49599996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The New Arts Society: Failed Radicals","authors":"E. Buhe","doi":"10.1086/702749","DOIUrl":"https://doi.org/10.1086/702749","url":null,"abstract":"","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"81 - 106"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48647341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：