Abstract:This essay benefited from the support of many institutions and people. Adam Bradley and Cheryl Higashida were generous and incisive interlocutors throughout the process. Tom Riis, Maria Windell, David Glimp, Paul Edwards, Mary Caton Lingold, Paula Austin, Greg Laski, and attendees of the 2016 Ralph Ellison Seminar at the Library of Congress engaged with early drafts. Later versions benefited greatly from the critical engagement of Ben Beck, Kurtis Hessel, Jessica Taylor, and two anonymous readers at Arizona Quarterly. Ricky Riccardi (Louis Armstrong House Museum & Archives) provided invaluable research assistance, as did staff at the Library of Congress Manuscript Division and the New York Public Library for the Performing Arts. The special collections research was funded by the Dean of the Graduate School at the University of Colorado Boulder. Monetary support from the Massachusetts Department of Unemployment Assistance, food/housing/childcare support from Carl and Barbara Corey, and the parenting labor of Ash Bell made the final revisions possible.
{"title":"The Reverberating Flesh: Refiguring Blackness and Sex in Ralph Ellison's Musical Basements","authors":"Alexander W. Corey","doi":"10.1353/arq.2021.0000","DOIUrl":"https://doi.org/10.1353/arq.2021.0000","url":null,"abstract":"Abstract:This essay benefited from the support of many institutions and people. Adam Bradley and Cheryl Higashida were generous and incisive interlocutors throughout the process. Tom Riis, Maria Windell, David Glimp, Paul Edwards, Mary Caton Lingold, Paula Austin, Greg Laski, and attendees of the 2016 Ralph Ellison Seminar at the Library of Congress engaged with early drafts. Later versions benefited greatly from the critical engagement of Ben Beck, Kurtis Hessel, Jessica Taylor, and two anonymous readers at Arizona Quarterly. Ricky Riccardi (Louis Armstrong House Museum & Archives) provided invaluable research assistance, as did staff at the Library of Congress Manuscript Division and the New York Public Library for the Performing Arts. The special collections research was funded by the Dean of the Graduate School at the University of Colorado Boulder. Monetary support from the Massachusetts Department of Unemployment Assistance, food/housing/childcare support from Carl and Barbara Corey, and the parenting labor of Ash Bell made the final revisions possible.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"77 1","pages":"1 - 32"},"PeriodicalIF":0.5,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2021.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42410263","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:This article foregrounds and explores the character of Steelkilt, a lake mariner from Buffalo, New York. Steelkilt takes center stage in Herman Melville's "The Town-Ho's Story," a stand-alone narrative that later appeared as the fifty-fourth chapter of Moby-Dick (1851). Though he has rarely been discussed in depth by critics or scholars, Steelkilt is many important things at once: a representative of a Great Lakes region that was still considered semi-wild at the time of Moby-Dick's publication, a bizarre vessel of violence and brutality, and a troubling symbol of nineteenth-century empire-building and global capital. Through textual analysis and a series of detailed examinations of the character's cultural and geographical milieus, this article sheds light on an obscure but vital corner of Melville's corpus.
{"title":"\"A Lakeman and desperado from Buffalo\": The Strange Saga of Steelkilt in Moby-Dick","authors":"Samuel M. Lackey","doi":"10.1353/arq.2020.0025","DOIUrl":"https://doi.org/10.1353/arq.2020.0025","url":null,"abstract":"Abstract:This article foregrounds and explores the character of Steelkilt, a lake mariner from Buffalo, New York. Steelkilt takes center stage in Herman Melville's \"The Town-Ho's Story,\" a stand-alone narrative that later appeared as the fifty-fourth chapter of Moby-Dick (1851). Though he has rarely been discussed in depth by critics or scholars, Steelkilt is many important things at once: a representative of a Great Lakes region that was still considered semi-wild at the time of Moby-Dick's publication, a bizarre vessel of violence and brutality, and a troubling symbol of nineteenth-century empire-building and global capital. Through textual analysis and a series of detailed examinations of the character's cultural and geographical milieus, this article sheds light on an obscure but vital corner of Melville's corpus.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"112 - 85"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48656366","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:Karen Tei Yamashita's Letters to Memory (2017) is a familial memoir about Japanese internment told indirectly, repetitively, and recursively through letters directed to modern-day versions of Homer, Ishi, Vyasa, Ananda, and Qohelet. The memoirdemonstrates cyclical patterns of nation- or state-based injustice throughout ancient and modern history, demonstrating what Judith Butler describes as the "precarity" produced by governmentality. At the level of form and theme, the epistolary memoir models ways of resisting the hegemonic and normative logics of state power. The memoir identifies serial moments of possibility where inter-racial identification did lead or might have led to meaningful coalition-building. Simultaneously, the text's recursive structure and nonlinear approach to temporality shares key features with queer theories of utopia and failure. In this way, Yamashita's memoir imagines interracial solidarity as a means to resist racialized precarity. In the process, she opens up new ways of thinking about Japanese internment and life writing.
{"title":"Interracial Solidarity and Epistolary Form in Precarious Times: Karen Tei Yamashita's Letters to Memory","authors":"J. Sheffer","doi":"10.1353/arq.2020.0024","DOIUrl":"https://doi.org/10.1353/arq.2020.0024","url":null,"abstract":"Abstract:Karen Tei Yamashita's Letters to Memory (2017) is a familial memoir about Japanese internment told indirectly, repetitively, and recursively through letters directed to modern-day versions of Homer, Ishi, Vyasa, Ananda, and Qohelet. The memoirdemonstrates cyclical patterns of nation- or state-based injustice throughout ancient and modern history, demonstrating what Judith Butler describes as the \"precarity\" produced by governmentality. At the level of form and theme, the epistolary memoir models ways of resisting the hegemonic and normative logics of state power. The memoir identifies serial moments of possibility where inter-racial identification did lead or might have led to meaningful coalition-building. Simultaneously, the text's recursive structure and nonlinear approach to temporality shares key features with queer theories of utopia and failure. In this way, Yamashita's memoir imagines interracial solidarity as a means to resist racialized precarity. In the process, she opens up new ways of thinking about Japanese internment and life writing.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"55 - 84"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49298299","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 voice that speaks in Emerson's essays is neither unified nor straightforwardly identifiable with the author, but plural and ventriloquial. It explores each issue from multiple perspectives and takes on rhetorical postures associated with the perspectives it inhabits. I consider the formal cues through which critics may track subtle shifts in voice and suggest that these same cues might also be useful in reading other authors associated with Transcendentalism. I intend my analysis as a demonstration of new formalist principles. If the content of Emerson's essays denies attribution to an authorial stance, then political significance is directly accountable to literary form.
{"title":"Between Emerson and His Several Voices","authors":"T. Sorensen","doi":"10.1353/arq.2020.0026","DOIUrl":"https://doi.org/10.1353/arq.2020.0026","url":null,"abstract":"Abstract:The voice that speaks in Emerson's essays is neither unified nor straightforwardly identifiable with the author, but plural and ventriloquial. It explores each issue from multiple perspectives and takes on rhetorical postures associated with the perspectives it inhabits. I consider the formal cues through which critics may track subtle shifts in voice and suggest that these same cues might also be useful in reading other authors associated with Transcendentalism. I intend my analysis as a demonstration of new formalist principles. If the content of Emerson's essays denies attribution to an authorial stance, then political significance is directly accountable to literary form.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"113 - 137"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66339200","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:In 1953, Jade Snow Wong's autobiographical novel Fifth Chinese Daughter was translated by the US government to fight Communism in Southeast Asia. Wong herself was sent abroad soon after to prove that the piece was not propaganda, and that a Chinese could indeed succeed in America's free democracy. And yet, the archival records of this diplomatic tour reveal that Wong worked assiduously to erase the Chinese translators she used while abroad in the Chinese diaspora. This article argues that these disappeared Chinese translators end up revealing the extensive work required to construct the identity of the "ethnic American" on both sides of the Pacific. Reading the Chinese translation of Fifth Chinese Daughter likewise reveals how Wong's diplomacy tour constructed an American identity for Wong back home, ultimately showcasing the ambivalent Cold War logic underlying Wong's transnational creation of an ethnic American.
{"title":"Language Lessons: Translating Jade Snow Wong's Fifth Chinese Daughter and the Making of an Ethnic American","authors":"L. M. Bo","doi":"10.1353/arq.2020.0023","DOIUrl":"https://doi.org/10.1353/arq.2020.0023","url":null,"abstract":"Abstract:In 1953, Jade Snow Wong's autobiographical novel Fifth Chinese Daughter was translated by the US government to fight Communism in Southeast Asia. Wong herself was sent abroad soon after to prove that the piece was not propaganda, and that a Chinese could indeed succeed in America's free democracy. And yet, the archival records of this diplomatic tour reveal that Wong worked assiduously to erase the Chinese translators she used while abroad in the Chinese diaspora. This article argues that these disappeared Chinese translators end up revealing the extensive work required to construct the identity of the \"ethnic American\" on both sides of the Pacific. Reading the Chinese translation of Fifth Chinese Daughter likewise reveals how Wong's diplomacy tour constructed an American identity for Wong back home, ultimately showcasing the ambivalent Cold War logic underlying Wong's transnational creation of an ethnic American.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"29 - 54"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47093110","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:Something of a dandy, drawn to the tuxedo life, Tennessee Williams unleashed a gritty, working-class modernity with his theatrical revolution in which undergarments grew emblematic. Williams's images of post-War masculinity would resonate with his protégé, William Inge, continue on the stage, into the iconography of film and further extend through the youth rebellion of the 1950s and 60s, into the tie dye era of the 60s and 70s and the grunge of the 1980s and 90s generating a general shift in American public appearance from suits to sweats. What is here called T-shirt Modernism became acceptable public dress and an emblem of masculinity. Such a tectonic shift in haberdashery and its concomitant exaggerated hyper masculinity owe much to the theatrical revolution unleashed on the Broadway stage by Tennessee Williams (and his collaborators) in December of 1947.
{"title":"T-shirt Modernism and The Performance of Masculinity: The Theatrical Refashionings of Tennessee Williams and William Inge","authors":"S. Gontarski","doi":"10.1353/arq.2020.0022","DOIUrl":"https://doi.org/10.1353/arq.2020.0022","url":null,"abstract":"Abstract:Something of a dandy, drawn to the tuxedo life, Tennessee Williams unleashed a gritty, working-class modernity with his theatrical revolution in which undergarments grew emblematic. Williams's images of post-War masculinity would resonate with his protégé, William Inge, continue on the stage, into the iconography of film and further extend through the youth rebellion of the 1950s and 60s, into the tie dye era of the 60s and 70s and the grunge of the 1980s and 90s generating a general shift in American public appearance from suits to sweats. What is here called T-shirt Modernism became acceptable public dress and an emblem of masculinity. Such a tectonic shift in haberdashery and its concomitant exaggerated hyper masculinity owe much to the theatrical revolution unleashed on the Broadway stage by Tennessee Williams (and his collaborators) in December of 1947.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"1 - 28"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682579","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:Against the common understanding of Walt Whitman as a virile prophet of ecstatic pleasure, this article explores the ecopoetics of “limp Whitman,” an iteration of the poet who surrenders and incapacitates the self not to amplify pleasure, nor to masochistically dissolve the ego, but rather to attenuate the demands he places on the earth and on his own body. In readings of “As I Ebb’d with the Ocean of Life” and “Song of the Rolling Earth” informed by Roland Barthes’s theory of the Neutral, I uncover how these poems mimic the blank expression of the earth, thus releasing it from the anthropocentric expectation that it yield pain, pleasure, or meaning. While the ecopoetics of the Neutral contests queer ecologies founded upon the worldmaking capacity of pleasure, it departs also from “antisocial” queer theory’s embrace of the death drive, offering instead limpness as a mundane yet essential image for ecology.
{"title":"Limp Whitman and the Ecopoetics of the Neutral","authors":"J. Greenwald","doi":"10.1353/arq.2020.0020","DOIUrl":"https://doi.org/10.1353/arq.2020.0020","url":null,"abstract":"Abstract:Against the common understanding of Walt Whitman as a virile prophet of ecstatic pleasure, this article explores the ecopoetics of “limp Whitman,” an iteration of the poet who surrenders and incapacitates the self not to amplify pleasure, nor to masochistically dissolve the ego, but rather to attenuate the demands he places on the earth and on his own body. In readings of “As I Ebb’d with the Ocean of Life” and “Song of the Rolling Earth” informed by Roland Barthes’s theory of the Neutral, I uncover how these poems mimic the blank expression of the earth, thus releasing it from the anthropocentric expectation that it yield pain, pleasure, or meaning. While the ecopoetics of the Neutral contests queer ecologies founded upon the worldmaking capacity of pleasure, it departs also from “antisocial” queer theory’s embrace of the death drive, offering instead limpness as a mundane yet essential image for ecology.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"107 - 137"},"PeriodicalIF":0.5,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45506100","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:I read the poetry of A.R. Ammons at a critical moment in his career, the late 1960s and early 1970s, by putting it in contact with some contiguous material related to an equally critical moment in American social history. At the center is a “spatial event”: the occupation of the Cornell University student union (Ammons’s institutional ground) by Cornell’s Afro-American Society in April 1969. This “seizure of space” provides the occasion for reflecting on Ammons’s spatial poetics and his persistent adverting to emptiness or nothing, a kind of ontological furthest reach of space, in order to identify the anxious ways in which, often in minor poems on the margins of his practice, he attempts to take in “the Sixties.” I put in dialogue his evolving Daoism and some thinking about space, “social space,” and event, to account for one Sixties poet’s handling of political and aesthetic crisis.
{"title":"“Near enough / to be knowingly away”: Cornell ’69 and the Ammons Poetic","authors":"Kevin McGuirk","doi":"10.1353/arq.2020.0017","DOIUrl":"https://doi.org/10.1353/arq.2020.0017","url":null,"abstract":"Abstract:I read the poetry of A.R. Ammons at a critical moment in his career, the late 1960s and early 1970s, by putting it in contact with some contiguous material related to an equally critical moment in American social history. At the center is a “spatial event”: the occupation of the Cornell University student union (Ammons’s institutional ground) by Cornell’s Afro-American Society in April 1969. This “seizure of space” provides the occasion for reflecting on Ammons’s spatial poetics and his persistent adverting to emptiness or nothing, a kind of ontological furthest reach of space, in order to identify the anxious ways in which, often in minor poems on the margins of his practice, he attempts to take in “the Sixties.” I put in dialogue his evolving Daoism and some thinking about space, “social space,” and event, to account for one Sixties poet’s handling of political and aesthetic crisis.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"25 - 54"},"PeriodicalIF":0.5,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41492144","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:Reading Harriet Prescott Spofford’s short story “The Amber Gods” (1860) alongside Charles Chesnutt’s “Dave’s Neckliss” (1889) (an example of decadent regionalism), this essay argues that, in both employing ornamental style and incorporating the imagery of enchanted ornament in their writing, Spofford and Chesnutt structure their stories around the aesthetics of the amulet, a species of magical jewelry meant to protect against the evil eye. This appropriation of amuletic aesthetics works to fascinate readers, arresting their attention and pulling them out of the flow of linear, homogenous time. Decadent style offered late nineteenth-century writers a powerful tool of cultural critique, one that used the fascinating power of lush ornament to resist the logic of historical progress.
{"title":"Amuletic Aesthetics and the Fascination of American Decadence","authors":"Patrick Kindig","doi":"10.1353/arq.2020.0018","DOIUrl":"https://doi.org/10.1353/arq.2020.0018","url":null,"abstract":"Abstract:Reading Harriet Prescott Spofford’s short story “The Amber Gods” (1860) alongside Charles Chesnutt’s “Dave’s Neckliss” (1889) (an example of decadent regionalism), this essay argues that, in both employing ornamental style and incorporating the imagery of enchanted ornament in their writing, Spofford and Chesnutt structure their stories around the aesthetics of the amulet, a species of magical jewelry meant to protect against the evil eye. This appropriation of amuletic aesthetics works to fascinate readers, arresting their attention and pulling them out of the flow of linear, homogenous time. Decadent style offered late nineteenth-century writers a powerful tool of cultural critique, one that used the fascinating power of lush ornament to resist the logic of historical progress.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"55 - 79"},"PeriodicalIF":0.5,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47877009","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:This essay explores the philosophical roots of the idea that Americans have an obligation to future generations, beginning with Thomas Jefferson’s claim that “the earth belongs in usufruct to the living.” In arguing that living people had no right to bind future people (with debts or laws they had no hand in shaping), Jefferson was making one of the earliest versions of the political claim for intergenerational justice. I then examine the way this idea reemerges in our contemporary moment—in the environmental movement, anxieties about parenting, and films, like The Village, The Truman Show, Pleasantville, WALL-E, The Witch, and Captain Fantastic, that fantasize the creation of pristine, sealed-off, pseudo-utopias. I focus throughout on The Village, because its particular version of a vexed utopia reveals not only the logic of intergenerational justice, but also its limitations.
{"title":"The Innocence Project: Future Generations from the Founders to The Village","authors":"Stacey Margolis","doi":"10.1353/arq.2020.0016","DOIUrl":"https://doi.org/10.1353/arq.2020.0016","url":null,"abstract":"Abstract:This essay explores the philosophical roots of the idea that Americans have an obligation to future generations, beginning with Thomas Jefferson’s claim that “the earth belongs in usufruct to the living.” In arguing that living people had no right to bind future people (with debts or laws they had no hand in shaping), Jefferson was making one of the earliest versions of the political claim for intergenerational justice. I then examine the way this idea reemerges in our contemporary moment—in the environmental movement, anxieties about parenting, and films, like The Village, The Truman Show, Pleasantville, WALL-E, The Witch, and Captain Fantastic, that fantasize the creation of pristine, sealed-off, pseudo-utopias. I focus throughout on The Village, because its particular version of a vexed utopia reveals not only the logic of intergenerational justice, but also its limitations.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"76 1","pages":"1 - 24"},"PeriodicalIF":0.5,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/arq.2020.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49155341","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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