{"title":"[Rezension zu] Juana I. Marín-Arrese, Marta Carretero, Jorge Arús Hita and Johan van der Auwera (eds.), English modality: core, periphery and evidentiality","authors":"C. Elsweiler","doi":"10.1515/ang-2016-0007","DOIUrl":"https://doi.org/10.1515/ang-2016-0007","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"37 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74043713","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}
In Early Modern England, conscience presents a point where discourses of subjectivity, religion, law and the theatre converge. Conscience was not only a concept most popular in religious writings, but it was the term most prominent for the analysis of interior experience. Conscience prohibits and produces theatricality, and creates dramatic situations in which external credibility authorizes internal truthfulness. Apart from being anatomized in religious works, conscience, both as a character on stage and as a theme, was an integral part of dramatic literature, above all in Shakespeare. In this paper I investigate into the performativity involved into the notion of conscience itself, in relation to the subject and in recourse to conscience on the stage. I will consider how the performance of conscience relates to contemporary ideas about conscience, and in looking at the structure and dramaturgy of conscience in Shakespeare’s Richard III, I want to suggest that conscience is not so much a moral or thematic concern of the play that reflects on the ethical status of man, but rather a performative mode which relies on the notion of unity and uniformity through difference.
{"title":"Performing Conscience in Richard III","authors":"Claudia Olk","doi":"10.1515/ang-2012-0002","DOIUrl":"https://doi.org/10.1515/ang-2012-0002","url":null,"abstract":"In Early Modern England, conscience presents a point where discourses of subjectivity, religion, law and the theatre converge. Conscience was not only a concept most popular in religious writings, but it was the term most prominent for the analysis of interior experience. Conscience prohibits and produces theatricality, and creates dramatic situations in which external credibility authorizes internal truthfulness. Apart from being anatomized in religious works, conscience, both as a character on stage and as a theme, was an integral part of dramatic literature, above all in Shakespeare. In this paper I investigate into the performativity involved into the notion of conscience itself, in relation to the subject and in recourse to conscience on the stage. I will consider how the performance of conscience relates to contemporary ideas about conscience, and in looking at the structure and dramaturgy of conscience in Shakespeare’s Richard III, I want to suggest that conscience is not so much a moral or thematic concern of the play that reflects on the ethical status of man, but rather a performative mode which relies on the notion of unity and uniformity through difference.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"16 1","pages":"1 - 18"},"PeriodicalIF":0.2,"publicationDate":"2012-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86287111","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}
Andrew S. Gross’s and Susanne Rohr’s Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History and the conference volume The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation, which was edited, together with Sophia Komor, also by Susanne Rohr – are expressions of “the change from studying (or recalling, or representing) the Holocaust [in the fifties and sixties] to ‘Holocaust Studies’, i.e. to the study of these representations, some thirty years later” that Heinz Ickstadt pinpoints in his perceptive and personal conclusion to the conference volume as “a new and different – perhaps: a generational – turn” (The Holocaust 252) in the process of coming to terms with the challenge of representing the Holocaust. “Why I Don’t Like Holocaust Studies Yet See No Escape From It”, the challenging title of Ickstadt’s contribution, perfectly captures the uneasiness and contradictions that circumscribe Holocaust art and Holocaust studies, which tread the fine line between creating a barrier against “the very fear of ‘forgetting’ by remembering again and again” (253) and the “routinization” and “ritualization” of public memory and memorial culture by artistically aestheticizing and scholarly dissecting – and thereby running the risk of minimizing or even trivializing (254) – the horrors of the gas chambers. An unjustifiable and disrespectful aestheticization of a terrible and unique moment in Jewish history: that is the verdict against much of the shocking Holocaust art of “the long 1990s – the period extending from the fall of the Berlin Wall on 11-9-1989 to the attack on the World Trade Center on 9-11-2001” (12). Gross and Rohr refrain from such condemnation and discuss and conceptualize 1990s Holocaust art as expression and symptom of a major shift not only in the artistic rendering of the Holocaust but also in the cultures of the (newly unified) West after 1989 in their impressive study of the phenomenon. The two critics argue that the 1990s saw a radical aesthetic change from efforts of a historical to a commemorative approximation of the Holocaust, which lead to a “new commemorative art” that “forges a connection to the past by transversing the terrain of viewer discomfort, adopting avant-garde (or ... comic) strategies for the purpose of traditional, even sentimental acts of remembrance” (11). The study is grounded in history by linking the spectacular change in artistic Holocaust renderings to the end of the Cold War controversy between the socialist/communist and the capitalist
{"title":"Andrew S. Gross & Susanne Rohr. Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation","authors":"K. Freitag","doi":"10.1515/ang-2012-0007","DOIUrl":"https://doi.org/10.1515/ang-2012-0007","url":null,"abstract":"Andrew S. Gross’s and Susanne Rohr’s Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History and the conference volume The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation, which was edited, together with Sophia Komor, also by Susanne Rohr – are expressions of “the change from studying (or recalling, or representing) the Holocaust [in the fifties and sixties] to ‘Holocaust Studies’, i.e. to the study of these representations, some thirty years later” that Heinz Ickstadt pinpoints in his perceptive and personal conclusion to the conference volume as “a new and different – perhaps: a generational – turn” (The Holocaust 252) in the process of coming to terms with the challenge of representing the Holocaust. “Why I Don’t Like Holocaust Studies Yet See No Escape From It”, the challenging title of Ickstadt’s contribution, perfectly captures the uneasiness and contradictions that circumscribe Holocaust art and Holocaust studies, which tread the fine line between creating a barrier against “the very fear of ‘forgetting’ by remembering again and again” (253) and the “routinization” and “ritualization” of public memory and memorial culture by artistically aestheticizing and scholarly dissecting – and thereby running the risk of minimizing or even trivializing (254) – the horrors of the gas chambers. An unjustifiable and disrespectful aestheticization of a terrible and unique moment in Jewish history: that is the verdict against much of the shocking Holocaust art of “the long 1990s – the period extending from the fall of the Berlin Wall on 11-9-1989 to the attack on the World Trade Center on 9-11-2001” (12). Gross and Rohr refrain from such condemnation and discuss and conceptualize 1990s Holocaust art as expression and symptom of a major shift not only in the artistic rendering of the Holocaust but also in the cultures of the (newly unified) West after 1989 in their impressive study of the phenomenon. The two critics argue that the 1990s saw a radical aesthetic change from efforts of a historical to a commemorative approximation of the Holocaust, which lead to a “new commemorative art” that “forges a connection to the past by transversing the terrain of viewer discomfort, adopting avant-garde (or ... comic) strategies for the purpose of traditional, even sentimental acts of remembrance” (11). The study is grounded in history by linking the spectacular change in artistic Holocaust renderings to the end of the Cold War controversy between the socialist/communist and the capitalist","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"85 1","pages":"120 - 126"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73439891","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}
In this article, I compare the Biblical citations in the Prologue to Laws of King Alfred with those in Asser’s De rebus gestis Ælfredi to see if the author(s) of these documents quoted from a similar text of the Scriptures, and what this data might reveal about the authorship of the aforementioned Prologue. My analysis shows that the author of both documents knew and relied on an Insular Celtic version of the New Testament. While acknowledging that the data available for analysis is too scant to draw firm conclusions, I suggest that my evidence supports the possibility that Asser played a formative role in drafting the Prologue to Alfred’s law code and speaks against the active participation of Alfred’s Continental guests.
在这篇文章中，我比较了《阿尔弗雷德国王的法律》序言中的圣经引用和Asser的《De rebus gestis Ælfredi》中的圣经引用，看看这些文件的作者是否引用了类似的圣经文本，以及这些数据可能揭示了上述序言的作者身份。我的分析表明，这两份文献的作者都知道并依赖于《新约》的岛屿凯尔特版本。虽然我承认可用于分析的数据太少，无法得出确切的结论，但我认为我的证据支持这样一种可能性，即Asser在起草阿尔弗雷德法典的序言中发挥了形成性作用，并反对阿尔弗雷德大陆客人的积极参与。
{"title":"Asser’s Bible and the Prologue to the Laws of Alfred","authors":"B. Carella","doi":"10.1515/ang-2012-0041","DOIUrl":"https://doi.org/10.1515/ang-2012-0041","url":null,"abstract":"In this article, I compare the Biblical citations in the Prologue to Laws of King Alfred with those in Asser’s De rebus gestis Ælfredi to see if the author(s) of these documents quoted from a similar text of the Scriptures, and what this data might reveal about the authorship of the aforementioned Prologue. My analysis shows that the author of both documents knew and relied on an Insular Celtic version of the New Testament. While acknowledging that the data available for analysis is too scant to draw firm conclusions, I suggest that my evidence supports the possibility that Asser played a formative role in drafting the Prologue to Alfred’s law code and speaks against the active participation of Alfred’s Continental guests.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"48 1","pages":"195 - 206"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83826130","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":"Martin Klepper, The Discovery of Point of View: Observation and Narration in the American Novel 1790–1910","authors":"C. Decker","doi":"10.1515/ang-2012-0034","DOIUrl":"https://doi.org/10.1515/ang-2012-0034","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"39 1","pages":"316 - 319"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73853510","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}
Found in 2009, the Baconsthorpe runic inscription confronts us with a new sign that was described and discussed by John Hines in Anglia 129 (2011), 281–296. As it occurs in a runic inscription, the new sign was initially automatically labelled as a rune, i.e. a grapheme representing a phoneme. With the exception of its runic environment, there are, however, no clear indications for categorizing this new sign as a rune. In this article I will make an attempt to show the difficulties involved in the process of proving that the new sign is in fact a rune. To this purpose, the different types of runes (e.g., single rune, transparent bindrune, obscured bind-rune) are analyzed and compared to the new sign (section 2.1). Although my transliteration (section 2.3) differs only slightly from the one by Hines (section 2.2), I parse the inscription differently (section 2.5). Theoretically, the new sign may be an ornament instead of a rune (section 2.4). I therefore initially ignored the new sign in my parsings and interpretations. The results were grammatically possible but improbable from a pragmatic point of view, suggesting that the new sign is not an ornament. If the new sign is, then, a rune, it should be possible to determine its sound value (section 4). Judging from its environment, the new rune must (a) be a monophthong and (b) a vowel that is not covered by the runes of the Old English rune-row. Such a vowel may have been brought about by Second Fronting: the new sign may represent /ɛ / and – since the Baconsthorpe inscription was probably written between 750–800 – may thus document the stage of development before the Vespasian Psalter Gloss (dated to the (mid-)9th century). – My analysis of the inscription is based on two autopsies in November 2010 and September 2011.
{"title":"The New Sign ᛠ in the Baconsthorpe Inscription: A Rune and its Sound Value","authors":"Gaby Waxenberger","doi":"10.1515/ang-2012-0999","DOIUrl":"https://doi.org/10.1515/ang-2012-0999","url":null,"abstract":"Found in 2009, the Baconsthorpe runic inscription confronts us with a new sign that was described and discussed by John Hines in Anglia 129 (2011), 281–296. As it occurs in a runic inscription, the new sign was initially automatically labelled as a rune, i.e. a grapheme representing a phoneme. With the exception of its runic environment, there are, however, no clear indications for categorizing this new sign as a rune. In this article I will make an attempt to show the difficulties involved in the process of proving that the new sign is in fact a rune. To this purpose, the different types of runes (e.g., single rune, transparent bindrune, obscured bind-rune) are analyzed and compared to the new sign (section 2.1). Although my transliteration (section 2.3) differs only slightly from the one by Hines (section 2.2), I parse the inscription differently (section 2.5). Theoretically, the new sign may be an ornament instead of a rune (section 2.4). I therefore initially ignored the new sign in my parsings and interpretations. The results were grammatically possible but improbable from a pragmatic point of view, suggesting that the new sign is not an ornament. If the new sign is, then, a rune, it should be possible to determine its sound value (section 4). Judging from its environment, the new rune must (a) be a monophthong and (b) a vowel that is not covered by the runes of the Old English rune-row. Such a vowel may have been brought about by Second Fronting: the new sign may represent /ɛ / and – since the Baconsthorpe inscription was probably written between 750–800 – may thus document the stage of development before the Vespasian Psalter Gloss (dated to the (mid-)9th century). – My analysis of the inscription is based on two autopsies in November 2010 and September 2011.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"13 1","pages":"177 - 194"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83027689","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}
The London Thornton manuscript (British Library Additional MS 31042) is uniformly described as a ‘religious’ compilation, and is a companion miscellany to the Lincoln Thornton manuscript (Lincoln Cathedral Library MS 91), both ascribed to Robert Thornton as compiler and scribe. Modern bibliographers have suggested that both compilations exhibit signs of significant design, specifically because of their grouping of works in genre sections. The Lincoln Thornton’s placing of its collection of romances has, for example, been shown to be far from random. This study suggests that the bibliographical/codicological descriptions of the five distinct genre sections of the London Thornton manuscript, while accurate as a record of the physical nature of the compilation, is limited in its perception of the overall literary/intellectual design. The first section, based on the Cursor Mundi and the Northern Passion, is the conceptual reference point for the subsequent genre groupings. In effect, the other genre sections are literary expressions of the operation of the Christian faith, in particular the Passion, in various aspects of life: the national, historical life; the individual spiritual life; social morality in vita activa. As Murray Evans pointed out in 1995, the composite shape and contexts of the manuscript within which a work is contained can shape the reader’s perception of it, as well as identify the compiler’s view of its kind. The main body of my study comments on the relationship of its four crusading romances to the keynote first section, the central event of Christian history and individual faith, and analyses the individual qualities of each both in relation to the crusading theme and as independent literary artefacts. It also relates them as a group to another significant context, the historical events of the late 14th and early 15th centuries. 1. THE LONDON THORNTON MANUSCRIPT IN ITS WIDER CONTEXT Apart from a few early works, such as Robert of Sicily and The King of Tars, produced in monastic scriptoria, most extant Middle English romances are preserved either in the products of secular bookshops, such as the Auchinleck manuscript, or more commonly in miscellanies of material recorded for private libraries and households, either by members of the family or by frequently indifferent scribes to the order of an employer, e.g. the Findern manuscript (Cambridge University Library Ff. 2.38) or Gonville and Caius College Cambridge MS 175. Of the 99 or so manuscripts preserving romances, only 10 contain more than one romance or work categorized by early bibliographers as such. The best known manuDOI 10.1515/ang-2012-0059 1 For the most comprehensive and thought-provoking survey of romances in their manuscripts, see Gisela Guddat-Figge, A Catalogue of Manuscripts Containing Middle English Romances (München: Fink, 1976), Introduction; and the seminal scripts, containing the largest number and greatest variety of romances, are: Edinburgh, National Lib
{"title":"The Contexts of the Crusading Romances in the London Thornton Manuscript","authors":"J. Finlayson","doi":"10.1515/ang-2012-0059","DOIUrl":"https://doi.org/10.1515/ang-2012-0059","url":null,"abstract":"The London Thornton manuscript (British Library Additional MS 31042) is uniformly described as a ‘religious’ compilation, and is a companion miscellany to the Lincoln Thornton manuscript (Lincoln Cathedral Library MS 91), both ascribed to Robert Thornton as compiler and scribe. Modern bibliographers have suggested that both compilations exhibit signs of significant design, specifically because of their grouping of works in genre sections. The Lincoln Thornton’s placing of its collection of romances has, for example, been shown to be far from random. This study suggests that the bibliographical/codicological descriptions of the five distinct genre sections of the London Thornton manuscript, while accurate as a record of the physical nature of the compilation, is limited in its perception of the overall literary/intellectual design. The first section, based on the Cursor Mundi and the Northern Passion, is the conceptual reference point for the subsequent genre groupings. In effect, the other genre sections are literary expressions of the operation of the Christian faith, in particular the Passion, in various aspects of life: the national, historical life; the individual spiritual life; social morality in vita activa. As Murray Evans pointed out in 1995, the composite shape and contexts of the manuscript within which a work is contained can shape the reader’s perception of it, as well as identify the compiler’s view of its kind. The main body of my study comments on the relationship of its four crusading romances to the keynote first section, the central event of Christian history and individual faith, and analyses the individual qualities of each both in relation to the crusading theme and as independent literary artefacts. It also relates them as a group to another significant context, the historical events of the late 14th and early 15th centuries. 1. THE LONDON THORNTON MANUSCRIPT IN ITS WIDER CONTEXT Apart from a few early works, such as Robert of Sicily and The King of Tars, produced in monastic scriptoria, most extant Middle English romances are preserved either in the products of secular bookshops, such as the Auchinleck manuscript, or more commonly in miscellanies of material recorded for private libraries and households, either by members of the family or by frequently indifferent scribes to the order of an employer, e.g. the Findern manuscript (Cambridge University Library Ff. 2.38) or Gonville and Caius College Cambridge MS 175. Of the 99 or so manuscripts preserving romances, only 10 contain more than one romance or work categorized by early bibliographers as such. The best known manuDOI 10.1515/ang-2012-0059 1 For the most comprehensive and thought-provoking survey of romances in their manuscripts, see Gisela Guddat-Figge, A Catalogue of Manuscripts Containing Middle English Romances (München: Fink, 1976), Introduction; and the seminal scripts, containing the largest number and greatest variety of romances, are: Edinburgh, National Lib","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"172 1","pages":"240 - 263"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76915036","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}
This article investigates the historical and cultural contexts of the literary relationship between James Joyce and Dante Alighieri, arguing that Joyce was fundamentally influenced by the poet’s late nineteenth-century reputation. The article pays particular attention to the influence of the Italian Risorgimento and the counter-appropriation and re-Catholicising of Dante. Within the context of this wider discourse it considers the role of the Jesuit Order in Joyce’s education, Joyce’s Dante tuition at University College Dublin, and the editions of Dante’s works which Joyce is known to have read. In doing so, the article challenges pre-conceived notions of Dante’s canonicity and the nature of Joyce’s relation to him, and ultimately demonstrates that Joyce received Dante as a complex, subversive and historically determined writer.
{"title":"Uneasy Orthodoxy: The Jesuits, the Risorgimento and the Contexts of Joyce’S First Readings Of Dante","authors":"James Robinson","doi":"10.1515/ang-2012-0004","DOIUrl":"https://doi.org/10.1515/ang-2012-0004","url":null,"abstract":"This article investigates the historical and cultural contexts of the literary relationship between James Joyce and Dante Alighieri, arguing that Joyce was fundamentally influenced by the poet’s late nineteenth-century reputation. The article pays particular attention to the influence of the Italian Risorgimento and the counter-appropriation and re-Catholicising of Dante. Within the context of this wider discourse it considers the role of the Jesuit Order in Joyce’s education, Joyce’s Dante tuition at University College Dublin, and the editions of Dante’s works which Joyce is known to have read. In doing so, the article challenges pre-conceived notions of Dante’s canonicity and the nature of Joyce’s relation to him, and ultimately demonstrates that Joyce received Dante as a complex, subversive and historically determined writer.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"1 1","pages":"34 - 53"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79461064","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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