Pub Date : 2022-09-08DOI: 10.1080/00751634.2022.2111488
Giordana Poggioli-Kaftan
ABSTRACT This article focuses on the intersections between recently politically emancipated Jewish painter Corcos and his representations of women in Liberal Italy in the paintings Annunciazione (1904) and Sogni (1896). In their subalternity, both Corcos and women inhabited a space of ‘in-betweenness’. Corcos lived and worked ‘in-between’ Catholicism and Judaism, as the painting Annunciazione demonstrates. Women in Liberal Italy lived ‘in-between’ the centre of the nation, as mothers of its children, and at the margins of it as individuals without political agency. Thus, the article highlights how Corcos’s diasporic identity is not dissimilar from that of women’s political condition as exiles in their own nation, as theorised by Friedrich Hegel. However, by transgressing patriarchal social conventions, tending to discipline women’s bodies in the public space, the painting Sogni points to a possible political agency that women might claim for themselves, precisely through the ‘impropriety’ of the woman’s bodily posture.
{"title":"Representing Women’s Displacement from the Margins in Liberal Italy: Vittorio Corcos’s Annunciazione (1904) and Sogni (1896)","authors":"Giordana Poggioli-Kaftan","doi":"10.1080/00751634.2022.2111488","DOIUrl":"https://doi.org/10.1080/00751634.2022.2111488","url":null,"abstract":"ABSTRACT This article focuses on the intersections between recently politically emancipated Jewish painter Corcos and his representations of women in Liberal Italy in the paintings Annunciazione (1904) and Sogni (1896). In their subalternity, both Corcos and women inhabited a space of ‘in-betweenness’. Corcos lived and worked ‘in-between’ Catholicism and Judaism, as the painting Annunciazione demonstrates. Women in Liberal Italy lived ‘in-between’ the centre of the nation, as mothers of its children, and at the margins of it as individuals without political agency. Thus, the article highlights how Corcos’s diasporic identity is not dissimilar from that of women’s political condition as exiles in their own nation, as theorised by Friedrich Hegel. However, by transgressing patriarchal social conventions, tending to discipline women’s bodies in the public space, the painting Sogni points to a possible political agency that women might claim for themselves, precisely through the ‘impropriety’ of the woman’s bodily posture.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"400 - 415"},"PeriodicalIF":0.3,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49250486","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 : 2022-08-26DOI: 10.1080/00751634.2022.2093506
Nicoletta Pazzaglia
ABSTRACT Partendo dalle teorie sul trauma e la testimonianza di studiosi quali Sigmund Freud, Dominick LaCapra e Lawrence Langer, questo saggio studia il processo di trasmissione e sopravvivenza messo in atto da Alda Merini nel romanzo giallo La nera novella. Confinata per diversi anni all’ospedale psichiatrico Paolo Pini di Milano, Alda Merini nelle sue opere ricorda ossessivamente il trauma del confino. Nel presente saggio vedo come la poetessa, nell’impiego di una serie di spazi – che vanno dal condominio, al solaio, alla casa – e la costruzione testuale del labirinto, realizzata attraverso una completa distruzione linguistica e narrativa, attui il processo di testimonianza attraverso cui potersi riconoscere come sopravvissuta. Lo scopo di questo saggio è quello di riconsiderare il ruolo delle istituzioni psichiatriche in Italia e quello di far emergere, attraverso le parole della poetessa, il crimine commesso verso i malati mentali sia nel confino manicomiale sia nello stigma ed emarginazione del pazzo, fenomeni che purtroppo persistono tutt’oggi nell’opinione pubblica.
{"title":"Fotografie ed ossa: testimonianza e sopravvivenza ne La nera novella di Alda Merini","authors":"Nicoletta Pazzaglia","doi":"10.1080/00751634.2022.2093506","DOIUrl":"https://doi.org/10.1080/00751634.2022.2093506","url":null,"abstract":"ABSTRACT Partendo dalle teorie sul trauma e la testimonianza di studiosi quali Sigmund Freud, Dominick LaCapra e Lawrence Langer, questo saggio studia il processo di trasmissione e sopravvivenza messo in atto da Alda Merini nel romanzo giallo La nera novella. Confinata per diversi anni all’ospedale psichiatrico Paolo Pini di Milano, Alda Merini nelle sue opere ricorda ossessivamente il trauma del confino. Nel presente saggio vedo come la poetessa, nell’impiego di una serie di spazi – che vanno dal condominio, al solaio, alla casa – e la costruzione testuale del labirinto, realizzata attraverso una completa distruzione linguistica e narrativa, attui il processo di testimonianza attraverso cui potersi riconoscere come sopravvissuta. Lo scopo di questo saggio è quello di riconsiderare il ruolo delle istituzioni psichiatriche in Italia e quello di far emergere, attraverso le parole della poetessa, il crimine commesso verso i malati mentali sia nel confino manicomiale sia nello stigma ed emarginazione del pazzo, fenomeni che purtroppo persistono tutt’oggi nell’opinione pubblica.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"78 1","pages":"107 - 122"},"PeriodicalIF":0.3,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47263132","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 : 2022-08-08DOI: 10.1080/00751634.2022.2094193
R. Vignati
ABSTRACT This article analyzises how food was used in Fellini’s films. The analysis is introduced by references to the early stories written by Fellini for Marc’Aurelio and to the dreams noted by the director in Il libro dei sogni. In films, food describes the social context (from the hunger represented in the films in the 1950s to the televised excesses of Ginger and Fred). Food also takes on symbolic meanings: hunger is also a need for love, the need to fill one’s loneliness and the preparation of food is an expression of the desire to take care of others. In the article a periodisation of Fellini’s filmography is proposed that distinguishes three phases: hunger, lack of appetite, and disgust. The examination of the presence of food suggests an interpretation of Fellini’s oeuvre that is very far from the stereotypical image of his films widespread in large part of the public.
{"title":"Fame, inappetenza e disgusto: il cibo nei film e nei sogni di Fellini","authors":"R. Vignati","doi":"10.1080/00751634.2022.2094193","DOIUrl":"https://doi.org/10.1080/00751634.2022.2094193","url":null,"abstract":"ABSTRACT This article analyzises how food was used in Fellini’s films. The analysis is introduced by references to the early stories written by Fellini for Marc’Aurelio and to the dreams noted by the director in Il libro dei sogni. In films, food describes the social context (from the hunger represented in the films in the 1950s to the televised excesses of Ginger and Fred). Food also takes on symbolic meanings: hunger is also a need for love, the need to fill one’s loneliness and the preparation of food is an expression of the desire to take care of others. In the article a periodisation of Fellini’s filmography is proposed that distinguishes three phases: hunger, lack of appetite, and disgust. The examination of the presence of food suggests an interpretation of Fellini’s oeuvre that is very far from the stereotypical image of his films widespread in large part of the public.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"435 - 449"},"PeriodicalIF":0.3,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44862709","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 : 2022-08-01DOI: 10.1080/00751634.2022.2095111
M. Nardelli
ABSTRACT This article considers Federico Fellini’s Le tentazioni del Dottor Antonio (1962), a fifty-minute episode in the omnibus Boccaccio ’70. While sometimes praised for its aesthetic and stylistic significance, the film remains largely overlooked and is considered a ‘bagatelle’ or ‘break’ in Fellini’s career. This article explores its valence as a promotional break between La dolce vita (1960) and 8 ½ (1963) and its overt thematisation of the mass image of advertising. Unpacking the film’s ostensible superficiality, the discussion is not so much focused on praising its originality, but on highlighting its conceptual, thematic, and aesthetic entanglement with mimicry and imitation. For the film not only addresses the mass image of advertising and the mimetic behaviour it relies on and encourages, but also itself enacts such mimetic behaviour in different ways. In so doing, it both taps into, and contributes to, contemporaneous concerns and debates about mass media and image culture.
{"title":"Like a Mass Image: Fellini’s Le tentazioni del Dottor Antonio, Advertising and Mimicry","authors":"M. Nardelli","doi":"10.1080/00751634.2022.2095111","DOIUrl":"https://doi.org/10.1080/00751634.2022.2095111","url":null,"abstract":"ABSTRACT This article considers Federico Fellini’s Le tentazioni del Dottor Antonio (1962), a fifty-minute episode in the omnibus Boccaccio ’70. While sometimes praised for its aesthetic and stylistic significance, the film remains largely overlooked and is considered a ‘bagatelle’ or ‘break’ in Fellini’s career. This article explores its valence as a promotional break between La dolce vita (1960) and 8 ½ (1963) and its overt thematisation of the mass image of advertising. Unpacking the film’s ostensible superficiality, the discussion is not so much focused on praising its originality, but on highlighting its conceptual, thematic, and aesthetic entanglement with mimicry and imitation. For the film not only addresses the mass image of advertising and the mimetic behaviour it relies on and encourages, but also itself enacts such mimetic behaviour in different ways. In so doing, it both taps into, and contributes to, contemporaneous concerns and debates about mass media and image culture.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"416 - 434"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45882580","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 : 2022-07-03DOI: 10.1080/00751634.2022.2098451
F. Camilletti
ABSTRACT Il saggio esamina una costellazione di opere a carattere fantascientifico pubblicate da Inisero Cremaschi, Gilda Musa e Giuseppe Pederiali tra il 1967 e il 1978 e caratterizzate da un uso molto libero della tematica ufologica. Da un lato, esso illustra la forte sinergia tra fantascienza italiana e ufologia negli anni che vanno tra l’‘occultura’ degli anni Sessanta e la ‘grande ondata’ di avvistamenti del 1978, presentando e discutendo una vasta serie di fonti finora scarsamente considerate dalla critica. Dall’altro, il saggio mostra come Cremaschi, Musa e Pederiali adoperino il tema-UFO per erodere i confini tra letteratura di finzione e divulgazione (pseudo-)scientifica.
{"title":"Fantascienza e ufologia nell’opera di Inisero Cremaschi, Gilda Musa e Giuseppe Pederiali, 1967–1978","authors":"F. Camilletti","doi":"10.1080/00751634.2022.2098451","DOIUrl":"https://doi.org/10.1080/00751634.2022.2098451","url":null,"abstract":"ABSTRACT Il saggio esamina una costellazione di opere a carattere fantascientifico pubblicate da Inisero Cremaschi, Gilda Musa e Giuseppe Pederiali tra il 1967 e il 1978 e caratterizzate da un uso molto libero della tematica ufologica. Da un lato, esso illustra la forte sinergia tra fantascienza italiana e ufologia negli anni che vanno tra l’‘occultura’ degli anni Sessanta e la ‘grande ondata’ di avvistamenti del 1978, presentando e discutendo una vasta serie di fonti finora scarsamente considerate dalla critica. Dall’altro, il saggio mostra come Cremaschi, Musa e Pederiali adoperino il tema-UFO per erodere i confini tra letteratura di finzione e divulgazione (pseudo-)scientifica.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"328 - 340"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45276647","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 : 2022-07-03DOI: 10.1080/00751634.2022.2088669
A. Giorgio
{"title":"Le vite degli altri abitano la mia. La scrittura del sé nell’opera di Fabrizia Ramondino. Testimonianze di G. Cacciapuoti, A. Cirillo, G. Fofi, M. Liguori, T. Marrone, M. Martone, G. M. Scamardella, E. Tatafiore, P. Valerio","authors":"A. Giorgio","doi":"10.1080/00751634.2022.2088669","DOIUrl":"https://doi.org/10.1080/00751634.2022.2088669","url":null,"abstract":"","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"356 - 357"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43137996","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 : 2022-07-03DOI: 10.1080/00751634.2022.2100208
P. Pellecchia
ABSTRACT Carlo Collodi’s Le Avventure di Pinocchio has undergone an extraordinary number of manipulations, showing the great malleability of a text whose protean capacity echoes that of its main character. I analyse Pinocchio from a psychoanalytical standpoint, considering the Unheimlich – uncanny – as a pivotal stylistic element of the story and exploring its function in Collodi’s critique of the Risorgimento’s prescriptive moral code. The uncanny pertains to a class of frightening experiences that lead back to what is known and has been removed by repression. In this light, Pinocchio emerges as a tale deprived of any morally successful teleology: instead of engendering a new bourgeois life, the transformation of the puppet into a ‘bambino perbene’ exposes the contradictory phenomenology of this metamorphosis, subtly announcing Pinocchio’s radical death. Pinocchio’s dead wooden body reveals the ineffectiveness of the moral-teleological project of the Risorgimento, which renounces its inability to restrain those unsettling forces that destabilise it from within.
{"title":"Under Pinocchio’s Skin: The Uncanny Woodenness of a Permanent Body","authors":"P. Pellecchia","doi":"10.1080/00751634.2022.2100208","DOIUrl":"https://doi.org/10.1080/00751634.2022.2100208","url":null,"abstract":"ABSTRACT Carlo Collodi’s Le Avventure di Pinocchio has undergone an extraordinary number of manipulations, showing the great malleability of a text whose protean capacity echoes that of its main character. I analyse Pinocchio from a psychoanalytical standpoint, considering the Unheimlich – uncanny – as a pivotal stylistic element of the story and exploring its function in Collodi’s critique of the Risorgimento’s prescriptive moral code. The uncanny pertains to a class of frightening experiences that lead back to what is known and has been removed by repression. In this light, Pinocchio emerges as a tale deprived of any morally successful teleology: instead of engendering a new bourgeois life, the transformation of the puppet into a ‘bambino perbene’ exposes the contradictory phenomenology of this metamorphosis, subtly announcing Pinocchio’s radical death. Pinocchio’s dead wooden body reveals the ineffectiveness of the moral-teleological project of the Risorgimento, which renounces its inability to restrain those unsettling forces that destabilise it from within.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"284 - 297"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48634218","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 : 2022-07-03DOI: 10.1080/00751634.2022.2096316
J. Bryce, NicholasM. Brown
Peter Melville Brown, who died in Aberdeen on 4 January 2022 at the age of 95, was a distinguished academic and scholar, known primarily for his work in what was the then relatively underexplored area of the cultural history of later Cinquecento Florence. Born on 7 July 1926 in Todmorden, a historic industrial town straddling the Yorkshire–Lancashire border, he was the son of an engineer employed at one of the local cotton mills. After completing his secondary education at the town’s grammar school, in 1944 Peter joined the Navy, which deployed the young sublieutenant to learn Japanese at the School of Oriental and African Studies in London. After the war, he proceeded to Magdalen College, Oxford, graduating in 1952 with first class honours in Italian and French, and with the additional award of a Senior Demyship. This was followed by a two-year scholarship at the prestigious Scuola Normale Superiore in Pisa, an intellectual experience which was to prove seminal for his later career. His Oxford doctoral thesis, a study of the Florentine scholar Lionardo Salviati (1539–1589), was published by Oxford University Press in 1974. Peter’s first academic post was at the University of Aberdeen. Starting in 1955 as assistant lecturer in Italian, he went on to become Senior Lecturer and Head of Department. Colleagues in the later stages of his tenure there included Tom O’Neill, Brian Prescott, and Isa Minio-Paluello Cochrane. In 1972, he succeeded T. Gwynfor Griffith as professor of Italian at the University of Hull where his team, over time, comprised John Barnes, John Woodhouse, Peter Hainsworth, John Gatt Rutter, Frank Woodhouse, and Judith Bryce. In 1975 he returned to Scotland on his appointment as Stevenson Professor of Italian at the University of Glasgow where he headed a team comprising Eileen Anne Millar, Denis Mooney, and Richard Greenwood. He retired in 1987, and was honoured the following year by the publication of a Festschrift dedicated to him, entitled Renaissance and ITALIAN STUDIES 2022, VOL. 77, NO. 3, 364–366 https://doi.org/10.1080/00751634.2022.2096316
{"title":"Professor Peter M. Brown (1926 –2022)","authors":"J. Bryce, NicholasM. Brown","doi":"10.1080/00751634.2022.2096316","DOIUrl":"https://doi.org/10.1080/00751634.2022.2096316","url":null,"abstract":"Peter Melville Brown, who died in Aberdeen on 4 January 2022 at the age of 95, was a distinguished academic and scholar, known primarily for his work in what was the then relatively underexplored area of the cultural history of later Cinquecento Florence. Born on 7 July 1926 in Todmorden, a historic industrial town straddling the Yorkshire–Lancashire border, he was the son of an engineer employed at one of the local cotton mills. After completing his secondary education at the town’s grammar school, in 1944 Peter joined the Navy, which deployed the young sublieutenant to learn Japanese at the School of Oriental and African Studies in London. After the war, he proceeded to Magdalen College, Oxford, graduating in 1952 with first class honours in Italian and French, and with the additional award of a Senior Demyship. This was followed by a two-year scholarship at the prestigious Scuola Normale Superiore in Pisa, an intellectual experience which was to prove seminal for his later career. His Oxford doctoral thesis, a study of the Florentine scholar Lionardo Salviati (1539–1589), was published by Oxford University Press in 1974. Peter’s first academic post was at the University of Aberdeen. Starting in 1955 as assistant lecturer in Italian, he went on to become Senior Lecturer and Head of Department. Colleagues in the later stages of his tenure there included Tom O’Neill, Brian Prescott, and Isa Minio-Paluello Cochrane. In 1972, he succeeded T. Gwynfor Griffith as professor of Italian at the University of Hull where his team, over time, comprised John Barnes, John Woodhouse, Peter Hainsworth, John Gatt Rutter, Frank Woodhouse, and Judith Bryce. In 1975 he returned to Scotland on his appointment as Stevenson Professor of Italian at the University of Glasgow where he headed a team comprising Eileen Anne Millar, Denis Mooney, and Richard Greenwood. He retired in 1987, and was honoured the following year by the publication of a Festschrift dedicated to him, entitled Renaissance and ITALIAN STUDIES 2022, VOL. 77, NO. 3, 364–366 https://doi.org/10.1080/00751634.2022.2096316","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"364 - 366"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46913857","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 : 2022-07-03DOI: 10.1080/00751634.2022.2088670
Stephen R. Buzdugan
As the political science scholar Roland Bleiker has recently put it, ‘we live in a visual age . . . [the] omnipresence of images is political and has changed fundamentally how we live and interact in today’s world’. The Political Portrait: Leadership, Image and Power arrives at a time when visual images dominate the political landscape, especially through social media. As Luciano Cheles and Pierre Sorlin put it in their thought-provoking opening chapter:
{"title":"The Political Portrait: Leadership, Image and Power","authors":"Stephen R. Buzdugan","doi":"10.1080/00751634.2022.2088670","DOIUrl":"https://doi.org/10.1080/00751634.2022.2088670","url":null,"abstract":"As the political science scholar Roland Bleiker has recently put it, ‘we live in a visual age . . . [the] omnipresence of images is political and has changed fundamentally how we live and interact in today’s world’. The Political Portrait: Leadership, Image and Power arrives at a time when visual images dominate the political landscape, especially through social media. As Luciano Cheles and Pierre Sorlin put it in their thought-provoking opening chapter:","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"362 - 363"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46883662","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：