Abstract:This article is a close reading of the fausse phthisie ruse in Stendhal's Lamiel. It examines the scene in the 1840 version of the manuscript in which Lamiel and Doctor Sansfin fake the symptoms of tuberculosis using the blood of a dead bird. In the first instance, this article analyses the novel's motif of the dead bird by using Jean-Baptiste Greuze's Jeune fille qui pleure son oiseau mort (1765) and Denis Diderot's Salon de 1765 as intertexts revealing the quasi-incestuous dimension of the fausse phthisie scene. In the second instance, it demonstrates how Lamiel charts the eponymous heroine's physiological progression through puberty via its use of the terms petite and jeune fille. Ultimately, this article argues that Lamiel's personal and sexual freedom is intimately connected to her subversion of both the visual iconography and the medical discourse of the jeune fille.
{"title":"\"Jeune fille qui ne pleure pas son oiseau mort\": Female Puberty in Stendhal's Lamiel","authors":"Sarah Jones","doi":"10.1353/ncf.2021.0034","DOIUrl":"https://doi.org/10.1353/ncf.2021.0034","url":null,"abstract":"Abstract:This article is a close reading of the fausse phthisie ruse in Stendhal's Lamiel. It examines the scene in the 1840 version of the manuscript in which Lamiel and Doctor Sansfin fake the symptoms of tuberculosis using the blood of a dead bird. In the first instance, this article analyses the novel's motif of the dead bird by using Jean-Baptiste Greuze's Jeune fille qui pleure son oiseau mort (1765) and Denis Diderot's Salon de 1765 as intertexts revealing the quasi-incestuous dimension of the fausse phthisie scene. In the second instance, it demonstrates how Lamiel charts the eponymous heroine's physiological progression through puberty via its use of the terms petite and jeune fille. Ultimately, this article argues that Lamiel's personal and sexual freedom is intimately connected to her subversion of both the visual iconography and the medical discourse of the jeune fille.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"50 - 67"},"PeriodicalIF":0.2,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46373644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This study situates Maupassant's short story "La Mère aux monstres" in the context of nineteenth-century debates about teratology, fashion, and literary form. I trace the evolution of the corset's social meaning over the course of the eighteenth and nineteenth centuries as it evolved from a protective (and even remedial) garment to one that came to be associated with female and fetal deformity. The eponymous character of Maupassant's tale exemplifies traits that nineteenth-century dress reformers associated with tight-lacing women: venality, deformity, and corrupt reproductivity. Maupassant's story thus reflects post-war cultural fears about dénatalité and degeneration. The corset also serves as a metaphor for Maupassant's artistic production as a short story writer. As the corset is the compressive creator of beauty and deformity in "La Mère aux monstres," the formal strictures of the short story also create beauty and deformity—Maupassant's literary achievement and the monstrous characters in his story, respectively.
摘要:本研究将莫泊桑的短篇小说《La m re aux monstres》置于19世纪关于畸形学、时尚和文学形式的争论中。我追溯了束身衣在十八和十九世纪的社会意义演变，它从一种保护(甚至是补救)服装演变成一种与女性和胎儿畸形有关的服装。莫泊桑故事中的同名人物体现了19世纪服装改革家与紧身系带女性相关的特征:贪财、畸形和腐败的生殖能力。因此，莫泊桑的故事反映了战后文化对变性和堕落的恐惧。紧身胸衣也隐喻了莫泊桑作为短篇小说作家的艺术创作。正如在《怪物之躯》中，紧身胸衣是美和畸形的压缩创造者，短篇小说的形式限制也分别创造了美和畸形——莫泊桑的文学成就和他故事中的怪物人物。
{"title":"The Novel in a Corset: Maupassant, Monsters, and the Short Story","authors":"Sara Phenix","doi":"10.1353/ncf.2021.0038","DOIUrl":"https://doi.org/10.1353/ncf.2021.0038","url":null,"abstract":"Abstract:This study situates Maupassant's short story \"La Mère aux monstres\" in the context of nineteenth-century debates about teratology, fashion, and literary form. I trace the evolution of the corset's social meaning over the course of the eighteenth and nineteenth centuries as it evolved from a protective (and even remedial) garment to one that came to be associated with female and fetal deformity. The eponymous character of Maupassant's tale exemplifies traits that nineteenth-century dress reformers associated with tight-lacing women: venality, deformity, and corrupt reproductivity. Maupassant's story thus reflects post-war cultural fears about dénatalité and degeneration. The corset also serves as a metaphor for Maupassant's artistic production as a short story writer. As the corset is the compressive creator of beauty and deformity in \"La Mère aux monstres,\" the formal strictures of the short story also create beauty and deformity—Maupassant's literary achievement and the monstrous characters in his story, respectively.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"119 - 134"},"PeriodicalIF":0.2,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42420946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This study shows how Maupassant's aesthetic principles lead him, in certain short stories, to expose thematised and implicit content. The absence of didactic discourse and explicit psychological analysis implies that Maupassant is using not only concision but also amplification and repetition to engage the reader and to make him or her aware of the nature and signification of the issues at stake. On a generic level, the short story is conceived not as a constricted version of the novel, an approach I refer to as a "nouvellisme," but as a configurative and narrative expansion of a crucial moment in a character's experience. The study thus questions the idea that the short story, because of the constraints of brevity, must above all remain concise and present all aspects of its narrative in an economical and abbreviated way in order to transcend the mere story. (In French)
{"title":"La concision exemplaire de la nouvelle? Réflexions sur l'art du récit bref chez Maupassant","authors":"Hans Färnlöf","doi":"10.1353/ncf.2021.0039","DOIUrl":"https://doi.org/10.1353/ncf.2021.0039","url":null,"abstract":"Abstract:This study shows how Maupassant's aesthetic principles lead him, in certain short stories, to expose thematised and implicit content. The absence of didactic discourse and explicit psychological analysis implies that Maupassant is using not only concision but also amplification and repetition to engage the reader and to make him or her aware of the nature and signification of the issues at stake. On a generic level, the short story is conceived not as a constricted version of the novel, an approach I refer to as a \"nouvellisme,\" but as a configurative and narrative expansion of a crucial moment in a character's experience. The study thus questions the idea that the short story, because of the constraints of brevity, must above all remain concise and present all aspects of its narrative in an economical and abbreviated way in order to transcend the mere story. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"135 - 149"},"PeriodicalIF":0.2,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66360029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Entretien avec Jacques Tardi","authors":"Seth Whidden, Jacques Tardi","doi":"10.1353/NCF.2021.0007","DOIUrl":"https://doi.org/10.1353/NCF.2021.0007","url":null,"abstract":"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"230 - 237"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43366840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article questions celebratory accounts of communard universalism by placing the 1871 Paris Commune within the space of French Empire. A first part analyzes the relation between the 1870 settler colonial revolt of the Algiers Commune (Commune d'Alger) and the 1871 Mokrani uprising against French rule in Algeria. While the Commune d'Alger predated the Paris Commune and must be understood in the specific context of settler colonialism in North Africa, the case of Alexandre Lambert, Algiers delegate to the Paris Commune, sheds light on the colonial ambiguities of republican universalism more generally. The article suggests that universalist discourse foreclosed rather than enabled solidarity across struggles, as Lambert could understand the Commune's emancipatory aspirations as entirely compatible with colonial domination. A second part traces the encounters between deported Parisian communards and colonized Kabyles and Kanak on the Île des Pins. These encounters show above all how communard universalism remained bounded by imperial domination and racialized epistemic frames. Yet attending to instances of political translation, they also point to a world-building solidarity across traditions of struggle.
摘要:本文通过将1871年巴黎公社置于法兰西帝国的空间中，对公社普遍主义的庆祝说法提出质疑。第一部分分析了1870年阿尔及尔公社(Commune d’alger)定居者殖民起义与1871年穆克拉尼起义之间的关系。虽然阿尔及尔公社早于巴黎公社，必须在北非移民殖民主义的具体背景下加以理解，但阿尔及尔驻巴黎公社代表亚历山大·兰伯特的案例更普遍地揭示了共和普遍主义的殖民模糊性。这篇文章表明，普遍主义话语阻碍了而不是促进了斗争之间的团结，因为兰伯特可以理解公社的解放愿望与殖民统治完全相容。第二部分追溯了被驱逐的巴黎公社人和在Île des Pins上被殖民的Kabyles和Kanak之间的遭遇。这些遭遇首先显示了公社普遍主义是如何被帝国统治和种族化的认知框架所束缚的。然而，在政治翻译的例子中，他们也指出了跨越斗争传统的世界建设团结。
{"title":"Decolonizing the \"Universal Republic\": The Paris Commune and French Empire","authors":"Niklas Plaetzer","doi":"10.1353/NCF.2021.0027","DOIUrl":"https://doi.org/10.1353/NCF.2021.0027","url":null,"abstract":"Abstract:This article questions celebratory accounts of communard universalism by placing the 1871 Paris Commune within the space of French Empire. A first part analyzes the relation between the 1870 settler colonial revolt of the Algiers Commune (Commune d'Alger) and the 1871 Mokrani uprising against French rule in Algeria. While the Commune d'Alger predated the Paris Commune and must be understood in the specific context of settler colonialism in North Africa, the case of Alexandre Lambert, Algiers delegate to the Paris Commune, sheds light on the colonial ambiguities of republican universalism more generally. The article suggests that universalist discourse foreclosed rather than enabled solidarity across struggles, as Lambert could understand the Commune's emancipatory aspirations as entirely compatible with colonial domination. A second part traces the encounters between deported Parisian communards and colonized Kabyles and Kanak on the Île des Pins. These encounters show above all how communard universalism remained bounded by imperial domination and racialized epistemic frames. Yet attending to instances of political translation, they also point to a world-building solidarity across traditions of struggle.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"585 - 603"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48664891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The only treatment of the Paris Commune in the pages of Germany's most popular illustrated weekly, the Gartenlaube, in 1871 was a sympathetic portrayal of a woman executed on the false allegation of being a pétroleuse. This essay introduces the article, "She Smelled of Petroleum," and its accompanying wood engraving, "Street Execution after the Taking of Paris," in the context of German reactions to the Paris Commune, the international circulation of images of the pétroleuse, and the mission of "family magazines" like the Gartenlaube. The article and illustration both echoed and responded to the broader international media response to the Commune, and, in keeping with the magazine's domestic perspective, anchored the story of the semaine sanglante in the tragedies experienced by women.
{"title":"She Smelled of Petroleum: The Paris Commune in a German Family Magazine","authors":"M. DeNino","doi":"10.1353/NCF.2021.0028","DOIUrl":"https://doi.org/10.1353/NCF.2021.0028","url":null,"abstract":"Abstract:The only treatment of the Paris Commune in the pages of Germany's most popular illustrated weekly, the Gartenlaube, in 1871 was a sympathetic portrayal of a woman executed on the false allegation of being a pétroleuse. This essay introduces the article, \"She Smelled of Petroleum,\" and its accompanying wood engraving, \"Street Execution after the Taking of Paris,\" in the context of German reactions to the Paris Commune, the international circulation of images of the pétroleuse, and the mission of \"family magazines\" like the Gartenlaube. The article and illustration both echoed and responded to the broader international media response to the Commune, and, in keeping with the magazine's domestic perspective, anchored the story of the semaine sanglante in the tragedies experienced by women.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"604 - 621"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45748802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines an album of photographs of the ruins of Paris produced after the Commune, entitled Ruines de Paris: 1871. It argues that this album used the devastated landscape of Paris to repair the country's fractured national identity in the wake of the conflict. Ruines de Paris inserted the destroyed city into the iconographical tradition of architectural photography as a form of monument preservation, thereby reclaiming the city for the French patrimony. This attempt to assert control over the city's national meaning through photography, however, rested on a paradox. It required that viewers see not the Paris that actually was depicted in the photographs, but rather, the Paris that had been and could be. The ideological work of Ruines de Paris entailed a fundamental rupture in photography's relationship with reality. In the service of national identity, the photographic ruins of Paris deploy photography not as a referential but as an experiential medium, turning representational photography into abstraction in the process.
{"title":"On Seeing and Believing: The Ruins of Paris, National Identity and Experiential Photography","authors":"R. Rexer","doi":"10.1353/NCF.2021.0011","DOIUrl":"https://doi.org/10.1353/NCF.2021.0011","url":null,"abstract":"Abstract:This article examines an album of photographs of the ruins of Paris produced after the Commune, entitled Ruines de Paris: 1871. It argues that this album used the devastated landscape of Paris to repair the country's fractured national identity in the wake of the conflict. Ruines de Paris inserted the destroyed city into the iconographical tradition of architectural photography as a form of monument preservation, thereby reclaiming the city for the French patrimony. This attempt to assert control over the city's national meaning through photography, however, rested on a paradox. It required that viewers see not the Paris that actually was depicted in the photographs, but rather, the Paris that had been and could be. The ideological work of Ruines de Paris entailed a fundamental rupture in photography's relationship with reality. In the service of national identity, the photographic ruins of Paris deploy photography not as a referential but as an experiential medium, turning representational photography into abstraction in the process.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"305 - 328"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46015225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:During the siege of Paris from September 1870 to January 1871, competing interpretations of the political meaning behind the fall of Napoléon III revolved around a series of literary readings on the stages of Parisian theaters. The text being read was Victor Hugo's Les Châtiments, a denunciation of Napoléon III written years before but available for the first time in France during the siege. The spectacular reception of Hugo's poetry shows how revolution could be understood as something to be seen: a public performance that symbolically enacted regime change. However lofty the goals and however fierce the debate, these potentially revolutionary performances nonetheless reveal themselves as attempts to legitimize theatrical institutions when their future was uncertain. In particular, Édouard Thierry of the Comédie-Française co-opted revolutionary rhetoric to ensure the continued relevance of theaters during a period of national crisis.
{"title":"The Performance of Politics during the Siege of Paris","authors":"Colin Foss","doi":"10.1353/NCF.2021.0018","DOIUrl":"https://doi.org/10.1353/NCF.2021.0018","url":null,"abstract":"Abstract:During the siege of Paris from September 1870 to January 1871, competing interpretations of the political meaning behind the fall of Napoléon III revolved around a series of literary readings on the stages of Parisian theaters. The text being read was Victor Hugo's Les Châtiments, a denunciation of Napoléon III written years before but available for the first time in France during the siege. The spectacular reception of Hugo's poetry shows how revolution could be understood as something to be seen: a public performance that symbolically enacted regime change. However lofty the goals and however fierce the debate, these potentially revolutionary performances nonetheless reveal themselves as attempts to legitimize theatrical institutions when their future was uncertain. In particular, Édouard Thierry of the Comédie-Française co-opted revolutionary rhetoric to ensure the continued relevance of theaters during a period of national crisis.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"427 - 442"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42020533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Stemming from the Commune, the social and gustatory experiment of the Marmites exemplifies concepts of solidarity, conviviality and manger-ensemble that provide a model for the contemporary French context of economic inequity. The socially-conscious feminist engagement responsible in establishing the Marmites offers an alternative vision to Versaillais representations of helpless cantinières and threatening pétroleuses. While French food history traditionally equates this bloody period with an obsessive quest for meat in all its forms, we examine instead how, both in practical and philosophical terms, the Marmites aligned with a nascent vegetarian and ecological sensibility as, in the largest sense, vivre-ensemble also includes living together with fellow non-human animals. (In French)
{"title":"Les Marmites de la Commune: Qu'on vive à table comme sur la barricade!","authors":"P. Dubois","doi":"10.1353/NCF.2021.0022","DOIUrl":"https://doi.org/10.1353/NCF.2021.0022","url":null,"abstract":"Abstract:Stemming from the Commune, the social and gustatory experiment of the Marmites exemplifies concepts of solidarity, conviviality and manger-ensemble that provide a model for the contemporary French context of economic inequity. The socially-conscious feminist engagement responsible in establishing the Marmites offers an alternative vision to Versaillais representations of helpless cantinières and threatening pétroleuses. While French food history traditionally equates this bloody period with an obsessive quest for meat in all its forms, we examine instead how, both in practical and philosophical terms, the Marmites aligned with a nascent vegetarian and ecological sensibility as, in the largest sense, vivre-ensemble also includes living together with fellow non-human animals. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"499 - 515"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47443352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The following essay seeks to take historiographical stock of some of the shifting narratives around the 1871 Commune over the past 150 years: what are the implications of its recuperation into more or less official Republican historiography? Which narratives or stories about the event have faded from view and which readings seem to occupy our disciplinary foreground? Is there a historiographical consensus about what the Commune was (or seems to mean today)? And what, finally, might we say as historians about the conceptual and political resonances of the Paris Commune for contemporary struggles for democracy, equality, solidarity across class, race, gender, and geographical divides? Ultimately it is this very multiplexity at the heart of the Commune—the sheer range of dynamic questions it raises or names as a kind of "historical expression of possibility"—that is of such keen interest to us today.
{"title":"The Commune, 1871: Present, Past, and Back Again","authors":"Quentin Deluermoz","doi":"10.1353/NCF.2021.0013","DOIUrl":"https://doi.org/10.1353/NCF.2021.0013","url":null,"abstract":"Abstract:The following essay seeks to take historiographical stock of some of the shifting narratives around the 1871 Commune over the past 150 years: what are the implications of its recuperation into more or less official Republican historiography? Which narratives or stories about the event have faded from view and which readings seem to occupy our disciplinary foreground? Is there a historiographical consensus about what the Commune was (or seems to mean today)? And what, finally, might we say as historians about the conceptual and political resonances of the Paris Commune for contemporary struggles for democracy, equality, solidarity across class, race, gender, and geographical divides? Ultimately it is this very multiplexity at the heart of the Commune—the sheer range of dynamic questions it raises or names as a kind of \"historical expression of possibility\"—that is of such keen interest to us today.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"348 - 357"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41509461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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