Pub Date : 2022-09-12DOI: 10.1080/14484528.2022.2120653
Botao Wu
ABSTRACT The micro, meso, and macro levels of family history have been examined in qualitative and quantitative research in diverse ways. This article mainly examines a micro-level family history, specifically my early experience, in a narrative, retrospective and reflective manner. As the eldest son of my family, I review and (re)write my family stories after my ancestors’ land was lost. This research asserts that we are in the endless process of creating family history that forms the foundation of our understanding of the world, and that from this starting point, we continuously create and recreate ourselves. We write about our family history to better understand the past and to live well at present and contribute to the process of knowledge making for the well-being of the human species.
{"title":"My Family History: the Past and the Present","authors":"Botao Wu","doi":"10.1080/14484528.2022.2120653","DOIUrl":"https://doi.org/10.1080/14484528.2022.2120653","url":null,"abstract":"ABSTRACT The micro, meso, and macro levels of family history have been examined in qualitative and quantitative research in diverse ways. This article mainly examines a micro-level family history, specifically my early experience, in a narrative, retrospective and reflective manner. As the eldest son of my family, I review and (re)write my family stories after my ancestors’ land was lost. This research asserts that we are in the endless process of creating family history that forms the foundation of our understanding of the world, and that from this starting point, we continuously create and recreate ourselves. We write about our family history to better understand the past and to live well at present and contribute to the process of knowledge making for the well-being of the human species.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"9 - 23"},"PeriodicalIF":0.4,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42024698","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}
Pub Date : 2022-09-12DOI: 10.1080/14484528.2022.2120170
Paul Kiem
ABSTRACT Renée Erdos was a history teacher and distance educator whose significance to Australian and international education was recognised in 2021 with an entry in the Australian Dictionary of Biography. During her lifetime Erdos published a memoir, Teaching Beyond the Campus, and has left a collection of papers with the National Library of Australia. However, this material deals almost exclusively with her professional life. Her family history and personal life have been difficult to reconstruct even though the digital revolution and access to online resources such as Trove and Ancestry.com have helped to reveal more of the traces of her past. This article reflects on the way in which old-fashioned serendipity and collaboration resulting from chance encounters with researchers in different fields have played a role in providing access to otherwise hidden sources and information. The stories that emerge are interesting and add new dimensions to our understanding of Erdos's early life. Even though the serendipity and collaboration have been mediated by the internet and its instantaneous international reach, they highlight the way in which life writing can thrive on personal meetings across the range of historical practice, including family history.
{"title":"The Role of Serendipity and Collaboration in Adding Texture and Family Context to the Career of Australian Educator Renée Erdos (1911–1997)","authors":"Paul Kiem","doi":"10.1080/14484528.2022.2120170","DOIUrl":"https://doi.org/10.1080/14484528.2022.2120170","url":null,"abstract":"ABSTRACT Renée Erdos was a history teacher and distance educator whose significance to Australian and international education was recognised in 2021 with an entry in the Australian Dictionary of Biography. During her lifetime Erdos published a memoir, Teaching Beyond the Campus, and has left a collection of papers with the National Library of Australia. However, this material deals almost exclusively with her professional life. Her family history and personal life have been difficult to reconstruct even though the digital revolution and access to online resources such as Trove and Ancestry.com have helped to reveal more of the traces of her past. This article reflects on the way in which old-fashioned serendipity and collaboration resulting from chance encounters with researchers in different fields have played a role in providing access to otherwise hidden sources and information. The stories that emerge are interesting and add new dimensions to our understanding of Erdos's early life. Even though the serendipity and collaboration have been mediated by the internet and its instantaneous international reach, they highlight the way in which life writing can thrive on personal meetings across the range of historical practice, including family history.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"199 - 215"},"PeriodicalIF":0.4,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44602112","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}
Pub Date : 2022-08-14DOI: 10.1080/14484528.2022.2103892
Anthony El G.
ABSTRACT Queer Arab life writing, especially in the context of the Coronavirus pandemic, is scarce. In my three-part auto-ethnographic essay, I explore the overarching relationship between illness and queerness, given that in many spaces the latter still falls under the umbrella of the former – especially in the Middle East where I reside. In the first part, set in 2018, I tackle the idea of wanting to have a terminal disease, cancer, and try to work out why exactly I feel that way. To do so, I revisit scenes that juxtapose this ‘real’ sickness with the ‘perceived’ sickness of being queer in Lebanon. The second part examines the relationship between queerness and a specific illness, COVID-19, as I experienced it in 2020. The third part elaborates on the prolonged, still roiling, impact of this illness, on queer life particularly, and possible positive aspects of the pandemic. While the essay starts with my point of view as someone who has recently come out as queer and moved to Beirut, the rest is written after living there two years as an openly LGBT person. I reflect on the evolution of my relationship with illness and queerness through this coming-out, and ultimately coming-of-age, transition.
{"title":"No Cure: Illness through a Lebanese Arab Queer Lens","authors":"Anthony El G.","doi":"10.1080/14484528.2022.2103892","DOIUrl":"https://doi.org/10.1080/14484528.2022.2103892","url":null,"abstract":"ABSTRACT Queer Arab life writing, especially in the context of the Coronavirus pandemic, is scarce. In my three-part auto-ethnographic essay, I explore the overarching relationship between illness and queerness, given that in many spaces the latter still falls under the umbrella of the former – especially in the Middle East where I reside. In the first part, set in 2018, I tackle the idea of wanting to have a terminal disease, cancer, and try to work out why exactly I feel that way. To do so, I revisit scenes that juxtapose this ‘real’ sickness with the ‘perceived’ sickness of being queer in Lebanon. The second part examines the relationship between queerness and a specific illness, COVID-19, as I experienced it in 2020. The third part elaborates on the prolonged, still roiling, impact of this illness, on queer life particularly, and possible positive aspects of the pandemic. While the essay starts with my point of view as someone who has recently come out as queer and moved to Beirut, the rest is written after living there two years as an openly LGBT person. I reflect on the evolution of my relationship with illness and queerness through this coming-out, and ultimately coming-of-age, transition.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"673 - 684"},"PeriodicalIF":0.4,"publicationDate":"2022-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42801545","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}
Pub Date : 2022-08-12DOI: 10.1080/14484528.2022.2104117
María Amor Barros-del Río, Melania Terrazas Gallego
ABSTRACT In recent times, the Irish literary arena has witnessed an extraordinary flourishing of women’s life writing, with a special interest in the examination of the female body. These works explore the relations between identity, memoir, and narration through the confessional, and reconceptualise the female body in the Irish context. This article sets out to examine collections of essays by two of these women writers, Emilie Pine’s Notes to Self (2019) and Sinéad Gleeson’s Constellations: Reflections from Life (2019), as innovative explorations of identity by applying Michael Bamberg’s integrative approach of narrative analysis. It aims to illuminate these examples of essayism as ‘interactional and bodily performed’ narratives, in Bamberg’s words, and as testimonies of transformation and adaptation of the body-mediated selves not only in Ireland, but universally. Pine and Gleeson’s essays look back on painful past experiences and explore the intersection of identity, textuality, and the body.
{"title":"Irish Women’s Confessional Writing: Identity, Textuality and the Body","authors":"María Amor Barros-del Río, Melania Terrazas Gallego","doi":"10.1080/14484528.2022.2104117","DOIUrl":"https://doi.org/10.1080/14484528.2022.2104117","url":null,"abstract":"ABSTRACT In recent times, the Irish literary arena has witnessed an extraordinary flourishing of women’s life writing, with a special interest in the examination of the female body. These works explore the relations between identity, memoir, and narration through the confessional, and reconceptualise the female body in the Irish context. This article sets out to examine collections of essays by two of these women writers, Emilie Pine’s Notes to Self (2019) and Sinéad Gleeson’s Constellations: Reflections from Life (2019), as innovative explorations of identity by applying Michael Bamberg’s integrative approach of narrative analysis. It aims to illuminate these examples of essayism as ‘interactional and bodily performed’ narratives, in Bamberg’s words, and as testimonies of transformation and adaptation of the body-mediated selves not only in Ireland, but universally. Pine and Gleeson’s essays look back on painful past experiences and explore the intersection of identity, textuality, and the body.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"473 - 490"},"PeriodicalIF":0.4,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46942210","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}
Pub Date : 2022-08-09DOI: 10.1080/14484528.2022.2106611
Kerri Davies
ABSTRACT Cultural institutions are continually responding and adapting to the pandemic and climate change, from operational challenges in times of lockdown and natural disasters, to rapid response collecting practices that document these ‘unprecedented times’. As part of their response, some of these institutions—known as LAM (Libraries and Museums)— have harnessed participatory media such as Facebook and purpose-built digital sites that simultaneously collect, curate and often exhibit life narratives in public archives of crises. This practice can be described reductively as crowdsourcing; however, I conceptualise curators’ rapid response collecting efforts of Covid-19 and climate change life narratives on participatory media platforms as crowd coaxing, and those who respond to the crowd coax are citizen storytellers, who co-publish archives of crisis with the institution. Whilst this is not without ethical and structural challenges, the National Museum of Australia’s participatory website, ‘Momentous’ and associated Facebook public group pages: ‘Bridging the Distance: Sharing our Covid-19 pandemic experiences’ and ‘Fridge Door Fire Stories’ show how such crowd coaxing practices create archives of crisis populated by citizen storytellers who exert agency within the traditional power dynamics of institutional frameworks and national identity for a more diverse historical record.
{"title":"Crowd Coaxing and Citizen Storytelling in Archives of Crisis","authors":"Kerri Davies","doi":"10.1080/14484528.2022.2106611","DOIUrl":"https://doi.org/10.1080/14484528.2022.2106611","url":null,"abstract":"ABSTRACT Cultural institutions are continually responding and adapting to the pandemic and climate change, from operational challenges in times of lockdown and natural disasters, to rapid response collecting practices that document these ‘unprecedented times’. As part of their response, some of these institutions—known as LAM (Libraries and Museums)— have harnessed participatory media such as Facebook and purpose-built digital sites that simultaneously collect, curate and often exhibit life narratives in public archives of crises. This practice can be described reductively as crowdsourcing; however, I conceptualise curators’ rapid response collecting efforts of Covid-19 and climate change life narratives on participatory media platforms as crowd coaxing, and those who respond to the crowd coax are citizen storytellers, who co-publish archives of crisis with the institution. Whilst this is not without ethical and structural challenges, the National Museum of Australia’s participatory website, ‘Momentous’ and associated Facebook public group pages: ‘Bridging the Distance: Sharing our Covid-19 pandemic experiences’ and ‘Fridge Door Fire Stories’ show how such crowd coaxing practices create archives of crisis populated by citizen storytellers who exert agency within the traditional power dynamics of institutional frameworks and national identity for a more diverse historical record.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"351 - 365"},"PeriodicalIF":0.4,"publicationDate":"2022-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45770855","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}
Pub Date : 2022-07-22DOI: 10.1080/14484528.2022.2097581
Janine Utell
ABSTRACT Alison Bechdel’s 2012 autography Are You My Mother? makes visible the power of a feminist poetics of revision. In this graphic memoir, Bechdel uses women’s writing and texts, and the intertextual, intersubjective relationships they engender, to show and tell the story of the subject as revisable. To tell the story of such a revisable self, a self revised through reading and writing, is a form of feminist practice, and to tell it in comics is to render that practice uniquely visible. Close attention has yet to be paid in readings of Are You My Mother? to another feminist lesbian woman writer who was preoccupied with the process of re-visioning the subject through reading and writing: Adrienne Rich. Rich is a touchstone for Bechdel’s parallel self-narratives of erotic discovery and development as an artist and a writer. Bechdel learns re-visioning the subject, through writing and revising, as a feminist practice, from Rich. Evidence of this process and practice may be found in Bechdel’s intertextual engagement with Rich’s work along with the artist’s comments on Rich, as well as archival materials such as drafts of Are You My Mother? and letters to her mother, Helen.
{"title":"Reading and Seeing Women’s Life Writing Through Adrienne Rich in Alison Bechdel’s Are You My Mother?","authors":"Janine Utell","doi":"10.1080/14484528.2022.2097581","DOIUrl":"https://doi.org/10.1080/14484528.2022.2097581","url":null,"abstract":"ABSTRACT Alison Bechdel’s 2012 autography Are You My Mother? makes visible the power of a feminist poetics of revision. In this graphic memoir, Bechdel uses women’s writing and texts, and the intertextual, intersubjective relationships they engender, to show and tell the story of the subject as revisable. To tell the story of such a revisable self, a self revised through reading and writing, is a form of feminist practice, and to tell it in comics is to render that practice uniquely visible. Close attention has yet to be paid in readings of Are You My Mother? to another feminist lesbian woman writer who was preoccupied with the process of re-visioning the subject through reading and writing: Adrienne Rich. Rich is a touchstone for Bechdel’s parallel self-narratives of erotic discovery and development as an artist and a writer. Bechdel learns re-visioning the subject, through writing and revising, as a feminist practice, from Rich. Evidence of this process and practice may be found in Bechdel’s intertextual engagement with Rich’s work along with the artist’s comments on Rich, as well as archival materials such as drafts of Are You My Mother? and letters to her mother, Helen.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"329 - 350"},"PeriodicalIF":0.4,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47468618","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}
Pub Date : 2022-07-07DOI: 10.1080/14484528.2022.2093446
M. O’Rourke
ABSTRACT This paper considers essays from Canadian author Anne Carson’s Glass, Irony & God (1992) and Plainwater (1995). Carson has spoken of these as reshapings of her life experience and recollections on the page. I suggest that it is the essential quality of plasticity—inherent to the essay genre, evident in the workings of memory, and displayed in Carson’s hybrid and experimental writing—which makes these works so powerful and expressly suited to their purpose. By working through contemporary definitions of the essay, touching on the neuroscience of memory, and analysing key examples of Carson’s life writing, I will also suggest that the particular qualities of lyric essay, such as its reliance on metaphor, elision and allusion, echo the ambiguities and inconsistencies inherent to identity, interpersonal relationships and autobiographical memory. Thus, this paper shows Carson as reaching beyond traditional textual practices of remembering to develop a unique mode of life writing ideally suited to reshaping and thus handling emotionally and ethically charged material, in order to bring the experimental personal essay to its fullest expression.
{"title":"Repeat the Important Words Until You Understand Them: Metaphor, Memory and Meaning in Anne Carson’s Essaying","authors":"M. O’Rourke","doi":"10.1080/14484528.2022.2093446","DOIUrl":"https://doi.org/10.1080/14484528.2022.2093446","url":null,"abstract":"ABSTRACT This paper considers essays from Canadian author Anne Carson’s Glass, Irony & God (1992) and Plainwater (1995). Carson has spoken of these as reshapings of her life experience and recollections on the page. I suggest that it is the essential quality of plasticity—inherent to the essay genre, evident in the workings of memory, and displayed in Carson’s hybrid and experimental writing—which makes these works so powerful and expressly suited to their purpose. By working through contemporary definitions of the essay, touching on the neuroscience of memory, and analysing key examples of Carson’s life writing, I will also suggest that the particular qualities of lyric essay, such as its reliance on metaphor, elision and allusion, echo the ambiguities and inconsistencies inherent to identity, interpersonal relationships and autobiographical memory. Thus, this paper shows Carson as reaching beyond traditional textual practices of remembering to develop a unique mode of life writing ideally suited to reshaping and thus handling emotionally and ethically charged material, in order to bring the experimental personal essay to its fullest expression.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"455 - 472"},"PeriodicalIF":0.4,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45391844","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}
Pub Date : 2022-06-16DOI: 10.1080/14484528.2022.2086439
Stephan Strunz
ABSTRACT In the late eighteenth century, European administrations saw the emergence of the Curriculum Vitae (CV) as a medium for job applications. These developments led civil servants who applied for employment to write about the merits of their careers. Focusing on Prussia and drawing on Gilles Deleuze and Félix Guattari’s concept of ‘micropolitics’, I argue that the ‘meritocratisation’ of the civil service produced a competitive climate that prompted micropolitical coping strategies. Applicants used diverging ‘lines of writing’ to question the prevailing bureaucratic value system. In doing so, candidates tried to soften meritocratic rules to the maximum and shifted them in their favour. By recounting family hardships, strokes of fate, or undue career advancements of competitors, applicants legitimised the failing of their own careers and demanded professional re-compensation. The life writing exhibited in application letters and CVs was less about constructing an identity or producing meaning rather than strategically affecting the politics of advancement and career progression. The lives that are preserved in personnel files today were brought to writing only because applicants had a material interest in their integration into the bureaucratic apparatus.
{"title":"Life Writing as Micropolitics: Prussian CVs at the Dawn of Bureaucratic Meritocracy","authors":"Stephan Strunz","doi":"10.1080/14484528.2022.2086439","DOIUrl":"https://doi.org/10.1080/14484528.2022.2086439","url":null,"abstract":"ABSTRACT In the late eighteenth century, European administrations saw the emergence of the Curriculum Vitae (CV) as a medium for job applications. These developments led civil servants who applied for employment to write about the merits of their careers. Focusing on Prussia and drawing on Gilles Deleuze and Félix Guattari’s concept of ‘micropolitics’, I argue that the ‘meritocratisation’ of the civil service produced a competitive climate that prompted micropolitical coping strategies. Applicants used diverging ‘lines of writing’ to question the prevailing bureaucratic value system. In doing so, candidates tried to soften meritocratic rules to the maximum and shifted them in their favour. By recounting family hardships, strokes of fate, or undue career advancements of competitors, applicants legitimised the failing of their own careers and demanded professional re-compensation. The life writing exhibited in application letters and CVs was less about constructing an identity or producing meaning rather than strategically affecting the politics of advancement and career progression. The lives that are preserved in personnel files today were brought to writing only because applicants had a material interest in their integration into the bureaucratic apparatus.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"257 - 272"},"PeriodicalIF":0.4,"publicationDate":"2022-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44876423","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}
Pub Date : 2022-06-07DOI: 10.1080/14484528.2022.2082264
Tijana Przulj
ABSTRACT This article explores the conversational aspect of Cusk’s autofiction and discusses its relevance for describing the relationship between an autofictional text, its author and its reader. In Kudos, this conversational aspect is actualised as dialogic reading space (coaxing space), in which the reader is invited to, and permitted to, take part in the polyphonic construction of the narrative based on the author’s personal truths. The reader’s perspective is thus introduced into a nuanced approach to the themes in the text, but also towards the writing process itself, including its commercial and human entanglements. The dialogic reading space allows the author to disentangle herself from any autobiographical pressures while enabling the reader to recognise the open indeterminacy of autofiction as a wellspring of ideas rather than a genre issue.
{"title":"Dialogic Reading Spaces in Autofiction: Rachel Cusk’s Kudos","authors":"Tijana Przulj","doi":"10.1080/14484528.2022.2082264","DOIUrl":"https://doi.org/10.1080/14484528.2022.2082264","url":null,"abstract":"ABSTRACT This article explores the conversational aspect of Cusk’s autofiction and discusses its relevance for describing the relationship between an autofictional text, its author and its reader. In Kudos, this conversational aspect is actualised as dialogic reading space (coaxing space), in which the reader is invited to, and permitted to, take part in the polyphonic construction of the narrative based on the author’s personal truths. The reader’s perspective is thus introduced into a nuanced approach to the themes in the text, but also towards the writing process itself, including its commercial and human entanglements. The dialogic reading space allows the author to disentangle herself from any autobiographical pressures while enabling the reader to recognise the open indeterminacy of autofiction as a wellspring of ideas rather than a genre issue.","PeriodicalId":43797,"journal":{"name":"Life Writing","volume":"20 1","pages":"273 - 285"},"PeriodicalIF":0.4,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42102888","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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