Pub Date : 2023-01-01DOI: 10.5325/miltonstudies.65.1.0100
N. McDowell
abstract:How are we to connect the way that Milton uses Charles I’s love of Shakespeare against him in Eikonoklastes (1649) with the evidence of Milton’s own close appreciation of Shakespeare in his copy of the First Folio, recently identified in the Free Library of Philadelphia? Is there any relationship between the linguistic and textual fascination with Shakespeare on display in the Philadelphia Folio and the polemical quotation of Shakespeare in the prose, or should we focus on the difference between them? This article makes the case that there is a relationship between Milton’s use of the First Folio and the political prose, but one that has less to do with content or with Milton’s attitudes toward Shakespeare per se than with critical methods of reading. This relationship exemplifies the effect of polemicization on literary and textual criticism, as on every aspect of British culture, during the Civil Wars of the 1640s.
{"title":"“Shakespeares Workes, and such Prelaticall trash”: Milton’s Shakespeare from the Philadelphia First Folio to the Political Prose","authors":"N. McDowell","doi":"10.5325/miltonstudies.65.1.0100","DOIUrl":"https://doi.org/10.5325/miltonstudies.65.1.0100","url":null,"abstract":"abstract:How are we to connect the way that Milton uses Charles I’s love of Shakespeare against him in Eikonoklastes (1649) with the evidence of Milton’s own close appreciation of Shakespeare in his copy of the First Folio, recently identified in the Free Library of Philadelphia? Is there any relationship between the linguistic and textual fascination with Shakespeare on display in the Philadelphia Folio and the polemical quotation of Shakespeare in the prose, or should we focus on the difference between them? This article makes the case that there is a relationship between Milton’s use of the First Folio and the political prose, but one that has less to do with content or with Milton’s attitudes toward Shakespeare per se than with critical methods of reading. This relationship exemplifies the effect of polemicization on literary and textual criticism, as on every aspect of British culture, during the Civil Wars of the 1640s.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"65 1","pages":"100 - 121"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41585424","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 : 2023-01-01DOI: 10.5325/miltonstudies.65.1.0071
P. Stevens
abstract:Shakespeare’s Hamlet was one of seventeenth-century England’s most popular plays, and, as the First Folio of the Philadelphia Free Library confirms, it was a Shakespearean drama with which Milton was deeply engaged. With Hamlet in mind, this article examines the degree to which Shakespearean tragedy qualifies Milton’s classical understanding of the genre and, more importantly, allows us insight into the relationship between tragedy and grace. What emerges is the profoundly agonistic but creative relationship between such influences as Shakespeare and Luther at the climax of Paradise Lost—so much so that without them Milton’s great work of art would have neither the same affective nor epistemological power. The argument falls into two parts: the first focuses on a specific network of contexts for Milton’s representation of the Fall as a tragedy, and the second on Adam and Eve’s response to that tragedy.
{"title":"Milton’s Hamlet: The Tragedy of Adam Unparadized","authors":"P. Stevens","doi":"10.5325/miltonstudies.65.1.0071","DOIUrl":"https://doi.org/10.5325/miltonstudies.65.1.0071","url":null,"abstract":"abstract:Shakespeare’s Hamlet was one of seventeenth-century England’s most popular plays, and, as the First Folio of the Philadelphia Free Library confirms, it was a Shakespearean drama with which Milton was deeply engaged. With Hamlet in mind, this article examines the degree to which Shakespearean tragedy qualifies Milton’s classical understanding of the genre and, more importantly, allows us insight into the relationship between tragedy and grace. What emerges is the profoundly agonistic but creative relationship between such influences as Shakespeare and Luther at the climax of Paradise Lost—so much so that without them Milton’s great work of art would have neither the same affective nor epistemological power. The argument falls into two parts: the first focuses on a specific network of contexts for Milton’s representation of the Fall as a tragedy, and the second on Adam and Eve’s response to that tragedy.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"65 1","pages":"71 - 99"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45525010","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 : 2023-01-01DOI: 10.5325/miltonstudies.65.1.0122
L. Magnusson
abstract:This article considers Milton’s art in relation to modality and the evolving grammar of possibility in Early Modern English. Specifically, it reads the surprisingly complex modal auxiliary verbs, may and its rival can, as keywords in poetic scenes of mental deliberation. A comparative analysis of Shakespearean drama sets the scene, demonstrating how the polysemy of may contributes not only to a psychology of potential action in Brutus’s deliberation over Caesar’s assassination but also to his political conceptions. In Milton’s Sonnet 8, by comparison, the ascendance of ability-can over may affirms the poet’s power and the potential reach of the English language. In the translated epigraph to Areopagitica, genuine liberty finds definition in the interplay of a distinctive English liberty-may with a meritocratic ability can-and-will. Can and will are again lead performers in the deliberative interrogation of divine agency in Paradise Regained, whereas the role of might is questioned in Milton’s tragic depiction of fallen agency in Samson Agonistes.
{"title":"Milton, Shakespeare, and the English Grammar of Possibility","authors":"L. Magnusson","doi":"10.5325/miltonstudies.65.1.0122","DOIUrl":"https://doi.org/10.5325/miltonstudies.65.1.0122","url":null,"abstract":"abstract:This article considers Milton’s art in relation to modality and the evolving grammar of possibility in Early Modern English. Specifically, it reads the surprisingly complex modal auxiliary verbs, may and its rival can, as keywords in poetic scenes of mental deliberation. A comparative analysis of Shakespearean drama sets the scene, demonstrating how the polysemy of may contributes not only to a psychology of potential action in Brutus’s deliberation over Caesar’s assassination but also to his political conceptions. In Milton’s Sonnet 8, by comparison, the ascendance of ability-can over may affirms the poet’s power and the potential reach of the English language. In the translated epigraph to Areopagitica, genuine liberty finds definition in the interplay of a distinctive English liberty-may with a meritocratic ability can-and-will. Can and will are again lead performers in the deliberative interrogation of divine agency in Paradise Regained, whereas the role of might is questioned in Milton’s tragic depiction of fallen agency in Samson Agonistes.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"65 1","pages":"122 - 152"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45125945","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0259
Michal Zechariah
abstract:This article suggests that Milton’s representation of Satanic ingratitude in book 4 of Paradise Lost imports into his epic poem some of his previous thoughts on unchangeable affections in the divorce tracts. Satan’s inability to repent in the soliloquy on Mount Niphates is routed through an experience of emotional fixity; he fails to feel gratitude for divine beneficence even though he knows he ought to feel it. In the divorce tracts, Milton bases his argument for divorce on the claim that certain affections, even negative ones, could not be changed because they originate in a person’s innermost nature. Satan’s soliloquy, I propose, explores the possibility that a similar emotional immutability may preclude certain persons from participating in virtue.
{"title":"Satanic Ingratitude and Psychological Determinism in Paradise Lost","authors":"Michal Zechariah","doi":"10.5325/miltonstudies.64.2.0259","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0259","url":null,"abstract":"abstract:This article suggests that Milton’s representation of Satanic ingratitude in book 4 of Paradise Lost imports into his epic poem some of his previous thoughts on unchangeable affections in the divorce tracts. Satan’s inability to repent in the soliloquy on Mount Niphates is routed through an experience of emotional fixity; he fails to feel gratitude for divine beneficence even though he knows he ought to feel it. In the divorce tracts, Milton bases his argument for divorce on the claim that certain affections, even negative ones, could not be changed because they originate in a person’s innermost nature. Satan’s soliloquy, I propose, explores the possibility that a similar emotional immutability may preclude certain persons from participating in virtue.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"259 - 282"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43775824","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0173
Rebecca M. Rush
abstract:The much-debated question of which of Milton’s wives is the “espoused saint” of Sonnet 23 reveals just how much is omitted from Milton’s vision of his saintly beloved. His wife is not given any of the characteristics we typically desire to specify a person: name, age, identifying features, or unique charms. She is instead identified merely through possessives and comparisons. This article explores how Milton’s sonnet taps into an idea of intermediate personhood afforded by the grammatical peculiarities of pronouns and how the poem meditates on lyric conventions of imagining persons. Milton’s amplification of these conventions allows him to see his beloved as irreplaceable while also depicting her as a capacious figure of intimacy in conversation with other figures of intimacy such as Euripides’s Alcestis. In crafting this figure of peculiar love, Milton lays the groundwork for his defense of the “sole propriety” of marriage in Paradise Lost.
{"title":"Like Alcestis: Milton’s Twenty-Third Sonnet and Lyric Personhood","authors":"Rebecca M. Rush","doi":"10.5325/miltonstudies.64.2.0173","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0173","url":null,"abstract":"abstract:The much-debated question of which of Milton’s wives is the “espoused saint” of Sonnet 23 reveals just how much is omitted from Milton’s vision of his saintly beloved. His wife is not given any of the characteristics we typically desire to specify a person: name, age, identifying features, or unique charms. She is instead identified merely through possessives and comparisons. This article explores how Milton’s sonnet taps into an idea of intermediate personhood afforded by the grammatical peculiarities of pronouns and how the poem meditates on lyric conventions of imagining persons. Milton’s amplification of these conventions allows him to see his beloved as irreplaceable while also depicting her as a capacious figure of intimacy in conversation with other figures of intimacy such as Euripides’s Alcestis. In crafting this figure of peculiar love, Milton lays the groundwork for his defense of the “sole propriety” of marriage in Paradise Lost.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"173 - 199"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47714859","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0153
John K. Hale
abstract:John Aubrey singled out the concept of hupsos —sublimity—in two of Milton’s political sonnets. This article examines the importance of this effect, as theorized by Longinus, in four of Milton’s other poems. Longinus identified striking thought and pathos or strong feeling (pathema) as two natural sources of hupsos ; both of these origins are explored in Lycidas. Longinus’s analysis of the truth of emotion in an ode by Sappho and that poem’s fusion of opposite sensations is then applied to Milton’s three sonnets on his blindness. Of these, “Methought I saw my late espousèd saint” is the best appreciated in the context of Longinus’s insights, in particular the intensification by displacement. The article’s larger argument is that Longinus can both defamiliarize Milton and gloriously uphold him.
{"title":"Longinus and Milton: “’Tis the hupsos I looke after”","authors":"John K. Hale","doi":"10.5325/miltonstudies.64.2.0153","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0153","url":null,"abstract":"abstract:John Aubrey singled out the concept of hupsos —sublimity—in two of Milton’s political sonnets. This article examines the importance of this effect, as theorized by Longinus, in four of Milton’s other poems. Longinus identified striking thought and pathos or strong feeling (pathema) as two natural sources of hupsos ; both of these origins are explored in Lycidas. Longinus’s analysis of the truth of emotion in an ode by Sappho and that poem’s fusion of opposite sensations is then applied to Milton’s three sonnets on his blindness. Of these, “Methought I saw my late espousèd saint” is the best appreciated in the context of Longinus’s insights, in particular the intensification by displacement. The article’s larger argument is that Longinus can both defamiliarize Milton and gloriously uphold him.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"153 - 172"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42466075","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0200
Mary R. Robinson
abstract:The nightingale is a frequent presence in Paradise Lost —not only as metaphor, but as part of the underlying music of Eden. Diverging from readings that focus on Milton’s identification with the bird, this article begins with his early poetry in order to examine his changing engagement with the nightingale and Philomela’s voice. It then shows how the nightingale becomes a symbol of violated nature in Paradise Lost rather than a representation of the poet himself. Milton’s evolving use of the nightingale speaks to both his poetic development and his great care for the natural world. Carefully listening to Milton’s nightingale offers new ways to understand the ecofeminist significance of her song—and, ultimately, her silence—in Paradise Lost.
{"title":"Bird of Paradise: The Evolving Song of Milton’s Nightingale","authors":"Mary R. Robinson","doi":"10.5325/miltonstudies.64.2.0200","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0200","url":null,"abstract":"abstract:The nightingale is a frequent presence in Paradise Lost —not only as metaphor, but as part of the underlying music of Eden. Diverging from readings that focus on Milton’s identification with the bird, this article begins with his early poetry in order to examine his changing engagement with the nightingale and Philomela’s voice. It then shows how the nightingale becomes a symbol of violated nature in Paradise Lost rather than a representation of the poet himself. Milton’s evolving use of the nightingale speaks to both his poetic development and his great care for the natural world. Carefully listening to Milton’s nightingale offers new ways to understand the ecofeminist significance of her song—and, ultimately, her silence—in Paradise Lost.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"200 - 227"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46150486","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0228
A. Saunders
abstract:Paradise Lost has become (to borrow a term from Herder) a “fable” of choice. Although its theodicy is now obsolete, it appears to manifest concerns with problems of choice and uncertainty that speak to twenty-first-century challenges, including inequality, political polarization, and failures of collective decision-making. The impression it gives of intuiting a kind of knowledge of these contemporary problems arises out of structural and linguistic features that resemble the way chaos theory describes unpredictable systems. Paradise Lost thus gives aesthetic form to problems Milton had addressed in his earlier political writings, which look now as if they anticipate aspects of modern microeconomics.
{"title":"Paradise Lost in a Chaotic Century","authors":"A. Saunders","doi":"10.5325/miltonstudies.64.2.0228","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0228","url":null,"abstract":"abstract:Paradise Lost has become (to borrow a term from Herder) a “fable” of choice. Although its theodicy is now obsolete, it appears to manifest concerns with problems of choice and uncertainty that speak to twenty-first-century challenges, including inequality, political polarization, and failures of collective decision-making. The impression it gives of intuiting a kind of knowledge of these contemporary problems arises out of structural and linguistic features that resemble the way chaos theory describes unpredictable systems. Paradise Lost thus gives aesthetic form to problems Milton had addressed in his earlier political writings, which look now as if they anticipate aspects of modern microeconomics.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"228 - 258"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46102440","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 : 2022-08-01DOI: 10.5325/miltonstudies.64.2.0283
E. Friedman
abstract:Most scholarship on Milton’s Paradise Lost takes Eve and Adam’s sex and gender difference for granted. While critics highlight the queer potentialities of Miltonic matter, they often focus on the epic’s angels and overlook Eve and Adam’s corporeal, yet still vital, materiality. This article turns its attention to the queer and trans possibilities in the first created humans. Bringing together accounts of queer Miltonian metaphysics, feminist psychoanalysis, and trans quantum materialism, I argue that while prelapsarian Eve and Adam have a real subjective difference, this difference is not an a priori sexed or gendered one, nor is it ontological. I offer a transpsychoanalytic reading of Eve and Adam’s unfallen subjectivities, which are structured without an originary loss, and explicate their difference while illustrating how unfallen Eden is a place without cis, binary sex and gender as we know it.
{"title":"Unsexing Eden","authors":"E. Friedman","doi":"10.5325/miltonstudies.64.2.0283","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.2.0283","url":null,"abstract":"abstract:Most scholarship on Milton’s Paradise Lost takes Eve and Adam’s sex and gender difference for granted. While critics highlight the queer potentialities of Miltonic matter, they often focus on the epic’s angels and overlook Eve and Adam’s corporeal, yet still vital, materiality. This article turns its attention to the queer and trans possibilities in the first created humans. Bringing together accounts of queer Miltonian metaphysics, feminist psychoanalysis, and trans quantum materialism, I argue that while prelapsarian Eve and Adam have a real subjective difference, this difference is not an a priori sexed or gendered one, nor is it ontological. I offer a transpsychoanalytic reading of Eve and Adam’s unfallen subjectivities, which are structured without an originary loss, and explicate their difference while illustrating how unfallen Eden is a place without cis, binary sex and gender as we know it.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"283 - 315"},"PeriodicalIF":0.2,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46627315","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 : 2022-03-01DOI: 10.5325/miltonstudies.64.1.0095
Joshua R. Held
abstract:Milton's Satan has more private speeches than any other character in Paradise Lost and displays a complex interiority, especially in his longest soliloquy, an anguish of conscience at the opening of book 4. But Milton also exhibits the interior of fallen Adam in book 10 through a soliloquy of despairing conscience that is resonant with Satan's earlier conscience-inflicted speech. The similarities between the interiors of Adam and Satan are deliberate and potent, yet the differences are also significant, in ways that denigrate Satan, elevate Adam (and Eve), and reveal a spectrum of consciences in Paradise Lost. This article argues that Milton had much to say about interiority, particularly through the inner faculty of conscience, which he exhibits in his epic across a wide range of characters and scenarios, from angels to human beings, and from guilt and despair to divine consolation.
{"title":"Constructing Miltonic Interiority: Adam, Satan, and Conscience in Paradise Lost","authors":"Joshua R. Held","doi":"10.5325/miltonstudies.64.1.0095","DOIUrl":"https://doi.org/10.5325/miltonstudies.64.1.0095","url":null,"abstract":"abstract:Milton's Satan has more private speeches than any other character in Paradise Lost and displays a complex interiority, especially in his longest soliloquy, an anguish of conscience at the opening of book 4. But Milton also exhibits the interior of fallen Adam in book 10 through a soliloquy of despairing conscience that is resonant with Satan's earlier conscience-inflicted speech. The similarities between the interiors of Adam and Satan are deliberate and potent, yet the differences are also significant, in ways that denigrate Satan, elevate Adam (and Eve), and reveal a spectrum of consciences in Paradise Lost. This article argues that Milton had much to say about interiority, particularly through the inner faculty of conscience, which he exhibits in his epic across a wide range of characters and scenarios, from angels to human beings, and from guilt and despair to divine consolation.","PeriodicalId":42710,"journal":{"name":"Milton Studies","volume":"64 1","pages":"122 - 95"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41347542","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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