Pub Date : 2020-08-14DOI: 10.1093/adaptation/apaa029
Davide Pellegrini
{"title":"Queer/Adaptation: A Collection of Critical Essays","authors":"Davide Pellegrini","doi":"10.1093/adaptation/apaa029","DOIUrl":"https://doi.org/10.1093/adaptation/apaa029","url":null,"abstract":"","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apaa029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47100948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-14DOI: 10.1093/adaptation/apaa026
Reto Winckler
This essay proposes that computer hacking can provide us with an appropriate framework through which to rethink the basic workings of adaptation in general and Shakespeare adaptation in particular in the twenty-first century. Building on the work of Thomas Leitch and Sarah Cardwell in adaptation studies and Christopher Kelty in the anthropology of the hacker movement, the essay positions itself as an alternative to Douglas Lanier’s model of the Shakespeare rhizome. The central argument is that understanding Shakespeare’s works as source code, and adaptations of them as hacks of that source code, as well as sources of future hacks, makes it possible to account for and work with the difficult but crucial notions of the source and of fidelity, while resolving many of the theoretical, practical, and political problems which motivated scholars to avoid or try to overcome those notions in the past.
{"title":"Hacking Adaptation: Updating, Porting, and Forking the Shakespearean Source Code","authors":"Reto Winckler","doi":"10.1093/adaptation/apaa026","DOIUrl":"https://doi.org/10.1093/adaptation/apaa026","url":null,"abstract":"This essay proposes that computer hacking can provide us with an appropriate framework through which to rethink the basic workings of adaptation in general and Shakespeare adaptation in particular in the twenty-first century. Building on the work of Thomas Leitch and Sarah Cardwell in adaptation studies and Christopher Kelty in the anthropology of the hacker movement, the essay positions itself as an alternative to Douglas Lanier’s model of the Shakespeare rhizome. The central argument is that understanding Shakespeare’s works as source code, and adaptations of them as hacks of that source code, as well as sources of future hacks, makes it possible to account for and work with the difficult but crucial notions of the source and of fidelity, while resolving many of the theoretical, practical, and political problems which motivated scholars to avoid or try to overcome those notions in the past.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apaa026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46977164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-04DOI: 10.1093/adaptation/apaa027
Gonzalo Montero
In this article, I analyze the representation of the Frontier in the short story ‘El Sur’ by the Argentine Jorge Luis Borges and the movie Dead Man by American director Jim Jarmusch. Going beyond explicit plot similarities, I argue that Jarmusch’s movie carries out an implicit form of adaptation of Borges’s literary text. Both works not only narrate the violent encounter of urban subjects with an unknown and threatening space, but also underscore how the ‘civilized’ subjectivity experiences a crisis that challenges foundational cultural assumptions. Due to its relevance in the process of nation formation, the Frontier served as a source for symbolic discourses, literary representations, and cultural imaginaries. In the case of Argentina and the United States, specific artistic genres fictionalized the life on the Frontier. Stylistically, both Borges and Jarmusch use tropes and narrative devices from these seemingly outdated genres—gauchesca literature and Western movies—but the use of these devices is highly experimental and installs a much more complex depiction of the symbolic space of the Frontier, thus challenging hegemonic accounts of processes of territorial expansion and racial superiority.
{"title":"Literature and Other White-Man Tricks: Borges and Jarmusch Imagine the Frontier","authors":"Gonzalo Montero","doi":"10.1093/adaptation/apaa027","DOIUrl":"https://doi.org/10.1093/adaptation/apaa027","url":null,"abstract":"\u0000 In this article, I analyze the representation of the Frontier in the short story ‘El Sur’ by the Argentine Jorge Luis Borges and the movie Dead Man by American director Jim Jarmusch. Going beyond explicit plot similarities, I argue that Jarmusch’s movie carries out an implicit form of adaptation of Borges’s literary text. Both works not only narrate the violent encounter of urban subjects with an unknown and threatening space, but also underscore how the ‘civilized’ subjectivity experiences a crisis that challenges foundational cultural assumptions. Due to its relevance in the process of nation formation, the Frontier served as a source for symbolic discourses, literary representations, and cultural imaginaries. In the case of Argentina and the United States, specific artistic genres fictionalized the life on the Frontier. Stylistically, both Borges and Jarmusch use tropes and narrative devices from these seemingly outdated genres—gauchesca literature and Western movies—but the use of these devices is highly experimental and installs a much more complex depiction of the symbolic space of the Frontier, thus challenging hegemonic accounts of processes of territorial expansion and racial superiority.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apaa027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44953411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apaa023
Chris Louttit
{"title":"Writing as if for Life: Armando Iannucci’s The Personal History of David Copperfield (2019)","authors":"Chris Louttit","doi":"10.1093/adaptation/apaa023","DOIUrl":"https://doi.org/10.1093/adaptation/apaa023","url":null,"abstract":"","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"13 1","pages":"274-278"},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apaa023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49089450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apz026
Nina Farizova
The creator of the TV series Penny Dreadful John Logan has stated that he drew inspiration for the first three seasons (2014–16) from English Romantic poetry. Characters in the series read and recite Blake, Clare, Keats, Shelley, and Wordsworth; comment on the nature of poetry; and make emotional connections through poetic affinities. Simultaneously, the structure of the series is gradually revealed to the audience as a pattern of doublings and couplings, of mirrors and parallels—all of which can be associated with the poetic device of rhyme. Rhyming shapes the sensory and cognitive experiences of the audience of the series; it also reflects the order of the diegetic universe, be it a freakish correspondence of incongruous things or God’s plan. Since these aesthetic choices seem to be part of the creator’s highly self-conscious design, the series becomes an adaptation of Romantic poetry, not only directly using the historical Romantic texts, but re-enacting in its organization the epistemological practice that rhyme is for English poetry.
{"title":"Romantic Poetry and the TV Series Form: The Rhyme of John Logan’s Penny Dreadful","authors":"Nina Farizova","doi":"10.1093/adaptation/apz026","DOIUrl":"https://doi.org/10.1093/adaptation/apz026","url":null,"abstract":"The creator of the TV series Penny Dreadful John Logan has stated that he drew inspiration for the first three seasons (2014–16) from English Romantic poetry. Characters in the series read and recite Blake, Clare, Keats, Shelley, and Wordsworth; comment on the nature of poetry; and make emotional connections through poetic affinities. Simultaneously, the structure of the series is gradually revealed to the audience as a pattern of doublings and couplings, of mirrors and parallels—all of which can be associated with the poetic device of rhyme. Rhyming shapes the sensory and cognitive experiences of the audience of the series; it also reflects the order of the diegetic universe, be it a freakish correspondence of incongruous things or God’s plan. Since these aesthetic choices seem to be part of the creator’s highly self-conscious design, the series becomes an adaptation of Romantic poetry, not only directly using the historical Romantic texts, but re-enacting in its organization the epistemological practice that rhyme is for English poetry.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apz026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apz027
C. Nelson
Miss Havisham is a spectral spinster figure that haunts the western imagination, an emblem of an ostensibly ‘unjustified’ and ‘unjustifiable’ female rage, a repository for masculine fears and fantasies about women, age, sexuality, and power. This article examines the shifting visions of Miss Havisham as an object of horror in film, fashion, kitsch, on the internet, and, more recently, as a revisionary figure of female resistance in Tony Jordan’s television series, Dickensian. In so doing, it maps the tensions that exist between conventional representations of Miss Havisham that envisage her as an irrational, embittered, and narcissistic old woman and those that construct her as a representation of justified female rage against the intersecting forces of patriarchy, capitalism, and ‘toxic masculinity’.
{"title":"Miss Havisham’s Rage: Imagining the ‘Angry Woman’ in Adaptations of Dickens’ Famous Character","authors":"C. Nelson","doi":"10.1093/adaptation/apz027","DOIUrl":"https://doi.org/10.1093/adaptation/apz027","url":null,"abstract":"\u0000 Miss Havisham is a spectral spinster figure that haunts the western imagination, an emblem of an ostensibly ‘unjustified’ and ‘unjustifiable’ female rage, a repository for masculine fears and fantasies about women, age, sexuality, and power. This article examines the shifting visions of Miss Havisham as an object of horror in film, fashion, kitsch, on the internet, and, more recently, as a revisionary figure of female resistance in Tony Jordan’s television series, Dickensian. In so doing, it maps the tensions that exist between conventional representations of Miss Havisham that envisage her as an irrational, embittered, and narcissistic old woman and those that construct her as a representation of justified female rage against the intersecting forces of patriarchy, capitalism, and ‘toxic masculinity’.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"13 1","pages":"224-239"},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apz027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44803695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apz031
Heather Snell
This article examines Cary Joji Fukunaga’s film adaptation of Uzodinma Iweala’s Beasts of No Nation, with a special focus on the final scene, in which a counsellor is assigned to help the protagonist deal with the trauma of having been a child soldier. While the casting of a black African actor as the counsellor in Fukunaga’s film may appear to detract from the novel’s interrogation of the uneven power relations between Africa and America, an interpretation oscillating between novel and film reveals that there may be some benefits to erasing the white saviour figure from the scene. The erasure of a white American character not only redirects the focus to relations among Africans but also comments indirectly on the circulation of transnational films via streaming services such as Netflix. Reading in between adapted text and adaptation also yields some important insights about Beasts’ critical engagement with the politics of circulation, reception, and consumption of child-soldier narratives at a time when such narratives have become popular among transnational audiences.
{"title":"‘I Am Also Having Mother Once, and She Is Loving Me’: Reading Cary Joji Fukunaga’s Beasts of No Nation in a Post-Network Era","authors":"Heather Snell","doi":"10.1093/adaptation/apz031","DOIUrl":"https://doi.org/10.1093/adaptation/apz031","url":null,"abstract":"\u0000 This article examines Cary Joji Fukunaga’s film adaptation of Uzodinma Iweala’s Beasts of No Nation, with a special focus on the final scene, in which a counsellor is assigned to help the protagonist deal with the trauma of having been a child soldier. While the casting of a black African actor as the counsellor in Fukunaga’s film may appear to detract from the novel’s interrogation of the uneven power relations between Africa and America, an interpretation oscillating between novel and film reveals that there may be some benefits to erasing the white saviour figure from the scene. The erasure of a white American character not only redirects the focus to relations among Africans but also comments indirectly on the circulation of transnational films via streaming services such as Netflix. Reading in between adapted text and adaptation also yields some important insights about Beasts’ critical engagement with the politics of circulation, reception, and consumption of child-soldier narratives at a time when such narratives have become popular among transnational audiences.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"13 1","pages":"194-209"},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apz031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49363058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apz034
C. Han
Charlotte Bronte’s Jane Eyre: An Autobiography (1847) has been regularly adapted for the screen since the silent era. During the 1990s, a trend emerged in which cinematic and television versions of Bronte’s novel paid increased attention to the protagonists’ identities as amateur artists. To explain this phenomenon, this article examines Jane Eyre (Franco Zeffirelli, 1996), Jane Eyre (ITV/A&E, 1997), Jane Eyre (BBC, 2006), and Jane Eyre (Cary Fukunaga, 2011). It proposes that these productions contribute to the evolution of Bronte’s authorial mythology by heightening their heroines’ similarities with the writer, another amateur artist. In so doing, these adaptations benefit from the reputations of Bronte and her work as rebelliously feminist. Nevertheless, these women artists’ rebellions are distinctly postfeminist. To demonstrate its argument, the article contextualizes contemporary Jane Eyre adaptations within their postfeminist cultural landscape. Postfeminism, however, is a contested term. Hence, this analysis participates in broader debates that interrogate postfeminism as a concept and its persistent fascination with nineteenth-century creative women. Through comparisons of the adaptations, this article will delineate the development of the woman artist trope to reveal how postfeminist conceptualizations of women’s creativity have shifted since the 1990s. In particular, the woman artist displays an increased desire to ‘return home’. Such retreatist narratives exploit but also obscure the fact that Bronte has long signified the perceived tension between traditional, highly domestic female gender roles and women’s creativity. As such, these postfeminist adaptations have a shaping effect on the myths that continue to circulate about Bronte’s feminism and authorship.
{"title":"Picturing Charlotte Brontë’s Artistic Rebellion? Myths of the Woman Artist in Postfeminist Jane Eyre Screen Adaptations","authors":"C. Han","doi":"10.1093/adaptation/apz034","DOIUrl":"https://doi.org/10.1093/adaptation/apz034","url":null,"abstract":"Charlotte Bronte’s Jane Eyre: An Autobiography (1847) has been regularly adapted for the screen since the silent era. During the 1990s, a trend emerged in which cinematic and television versions of Bronte’s novel paid increased attention to the protagonists’ identities as amateur artists. To explain this phenomenon, this article examines Jane Eyre (Franco Zeffirelli, 1996), Jane Eyre (ITV/A&E, 1997), Jane Eyre (BBC, 2006), and Jane Eyre (Cary Fukunaga, 2011). It proposes that these productions contribute to the evolution of Bronte’s authorial mythology by heightening their heroines’ similarities with the writer, another amateur artist. In so doing, these adaptations benefit from the reputations of Bronte and her work as rebelliously feminist. Nevertheless, these women artists’ rebellions are distinctly postfeminist. To demonstrate its argument, the article contextualizes contemporary Jane Eyre adaptations within their postfeminist cultural landscape. Postfeminism, however, is a contested term. Hence, this analysis participates in broader debates that interrogate postfeminism as a concept and its persistent fascination with nineteenth-century creative women. Through comparisons of the adaptations, this article will delineate the development of the woman artist trope to reveal how postfeminist conceptualizations of women’s creativity have shifted since the 1990s. In particular, the woman artist displays an increased desire to ‘return home’. Such retreatist narratives exploit but also obscure the fact that Bronte has long signified the perceived tension between traditional, highly domestic female gender roles and women’s creativity. As such, these postfeminist adaptations have a shaping effect on the myths that continue to circulate about Bronte’s feminism and authorship.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"13 1","pages":"240-269"},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apz034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48562642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1093/adaptation/apz022
Cynthia Beatrice Costa
Often praised for its cinematic artistry and faithfulness to the homonymous novel (Edith Wharton, 1920), The Age of Innocence (Martin Scorsese, 1993) is sometimes seen, however, as a reminder of the perils of voice-over narration in fiction films (Herman). By examining its use in relation to notions of novel adaptation (Whelehan; Leitch) and approaching irony in the film as a rhetorical device (Booth; Hutcheon; MacDowell), this article counterpoints the opinion (Travers; Cahir) that the voice-over narration might have decreased the dramatic potency of Scorsese’s work. In doing so, two main hypotheses emerged: (1) displaying a voice that purposefully invokes the novel’s author might have enhanced the degree of association between adaptation and source material, and (2) in deepening the viewers’ understanding of certain scenes by revealing inside information, the voice-over adds an ironic overlay to the film.
{"title":"An Ironic Overlay: The Use of Voice-Over Narration in The Age of Innocence, by Martin Scorsese","authors":"Cynthia Beatrice Costa","doi":"10.1093/adaptation/apz022","DOIUrl":"https://doi.org/10.1093/adaptation/apz022","url":null,"abstract":"\u0000 Often praised for its cinematic artistry and faithfulness to the homonymous novel (Edith Wharton, 1920), The Age of Innocence (Martin Scorsese, 1993) is sometimes seen, however, as a reminder of the perils of voice-over narration in fiction films (Herman). By examining its use in relation to notions of novel adaptation (Whelehan; Leitch) and approaching irony in the film as a rhetorical device (Booth; Hutcheon; MacDowell), this article counterpoints the opinion (Travers; Cahir) that the voice-over narration might have decreased the dramatic potency of Scorsese’s work. In doing so, two main hypotheses emerged: (1) displaying a voice that purposefully invokes the novel’s author might have enhanced the degree of association between adaptation and source material, and (2) in deepening the viewers’ understanding of certain scenes by revealing inside information, the voice-over adds an ironic overlay to the film.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"13 1","pages":"161-175"},"PeriodicalIF":0.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apz022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41617906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-21DOI: 10.1093/adaptation/apaa022
Kyle Meikle
The protagonists of Michel Gondry’s Be Kind Rewind recycle twice over, using junkyard stuff like tires and plastic bags to remake famous films in a series of no-budget shorts. This essay turns to Be Kind Rewind to ask how the recycling of materials may relate to the recycling of intellectual properties. It argues that such a question is paramount at a moment when adaptation not only represents a major media practice but also one major response to climate change. As such, the essay offers several different approaches to thinking about media adaptation in the age of global warming, drawing variously from sociologists, political ecologists, film theorists, and designers.
{"title":"Is Adaptation Studies Sustainable?","authors":"Kyle Meikle","doi":"10.1093/adaptation/apaa022","DOIUrl":"https://doi.org/10.1093/adaptation/apaa022","url":null,"abstract":"\u0000 The protagonists of Michel Gondry’s Be Kind Rewind recycle twice over, using junkyard stuff like tires and plastic bags to remake famous films in a series of no-budget shorts. This essay turns to Be Kind Rewind to ask how the recycling of materials may relate to the recycling of intellectual properties. It argues that such a question is paramount at a moment when adaptation not only represents a major media practice but also one major response to climate change. As such, the essay offers several different approaches to thinking about media adaptation in the age of global warming, drawing variously from sociologists, political ecologists, film theorists, and designers.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apaa022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44206060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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