Pub Date : 2023-03-01DOI: 10.1353/lit.2023.a902215
Alyssa A. Hunziker, Mitch R. Murray
{"title":"Genres of Empire: An Introduction","authors":"Alyssa A. Hunziker, Mitch R. Murray","doi":"10.1353/lit.2023.a902215","DOIUrl":"https://doi.org/10.1353/lit.2023.a902215","url":null,"abstract":"","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"157 - 185"},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44295163","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 : 2023-03-01DOI: 10.1353/lit.2023.a902221
I. S. Prado
Abstract:Mexican Canadian writer Silvia Moreno-Garcia's meteoric rise after the publication of Mexican Gothic (2020) has placed her at the center of contemporary genre fiction. This essay discusses the ways in which her approach to genre, and particularly to the Gothic, is informed by a citational dynamic in relation to what the article calls her "Mexican Archive"—that is, the rich network of references to the history and symbolic production of Mexico. The essay contends that this archive sets Moreno-Garcia apart from other Latinx fiction writers in her disengagement from US-centered ideas of race and Mexicanness. The article discusses in the first part the ways in which we could think about the role of Mexico and Mexican culture in Moreno-Garcia's work. In the second part, a reading of Mexican Gothic unfolds the ways in which this archive intersects with the citational practices and symbolic conventions of genre fiction.
{"title":"Citational Gothic: Silvia Moreno-Garcia's Mexican Archive","authors":"I. S. Prado","doi":"10.1353/lit.2023.a902221","DOIUrl":"https://doi.org/10.1353/lit.2023.a902221","url":null,"abstract":"Abstract:Mexican Canadian writer Silvia Moreno-Garcia's meteoric rise after the publication of Mexican Gothic (2020) has placed her at the center of contemporary genre fiction. This essay discusses the ways in which her approach to genre, and particularly to the Gothic, is informed by a citational dynamic in relation to what the article calls her \"Mexican Archive\"—that is, the rich network of references to the history and symbolic production of Mexico. The essay contends that this archive sets Moreno-Garcia apart from other Latinx fiction writers in her disengagement from US-centered ideas of race and Mexicanness. The article discusses in the first part the ways in which we could think about the role of Mexico and Mexican culture in Moreno-Garcia's work. In the second part, a reading of Mexican Gothic unfolds the ways in which this archive intersects with the citational practices and symbolic conventions of genre fiction.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"323 - 348"},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44832097","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 : 2023-03-01DOI: 10.1353/lit.2023.a902217
Christopher T. Fan
Abstract:While Asian American authors have certainly produced narratives of return to their or their predecessors' countries of origin, these narratives have, until recently, predominantly appeared in memoir and autobiography. Since the turn of the millennium there's been a significant uptick in the fictional portrayal of return. In stark contrast to the spiritual and filial returns in memoir, these fictional portrayals tend not to sentimentalize return. The protagonists who return more often follow economic or professional trajectories. In novels like Tao Lin's Taipei (2013), Ling Ma's Severance (2018), Han Ong's The Disinherited (2004), Ruth Ozeki's A Tale for the Time Being (2013), Brian Ascalon Roley's American Son (2001), and Lucy Tan's What We Were Promised (2018), return to Asia intensifies rather than vitiates material structures of alienation. What we find is that they tend to undermine an emerging Twenty-first century racial form that welds the Asian to neoliberal flexibility, even if they often forego critique. This article will describe contemporary Asian/American return fictions in contrast to earlier manifestations of the genre and explore their problematic relationship to categories like Asian American and Anglophone Asian fiction.
{"title":"Semiperipherality and the Taiwanese American Novel","authors":"Christopher T. Fan","doi":"10.1353/lit.2023.a902217","DOIUrl":"https://doi.org/10.1353/lit.2023.a902217","url":null,"abstract":"Abstract:While Asian American authors have certainly produced narratives of return to their or their predecessors' countries of origin, these narratives have, until recently, predominantly appeared in memoir and autobiography. Since the turn of the millennium there's been a significant uptick in the fictional portrayal of return. In stark contrast to the spiritual and filial returns in memoir, these fictional portrayals tend not to sentimentalize return. The protagonists who return more often follow economic or professional trajectories. In novels like Tao Lin's Taipei (2013), Ling Ma's Severance (2018), Han Ong's The Disinherited (2004), Ruth Ozeki's A Tale for the Time Being (2013), Brian Ascalon Roley's American Son (2001), and Lucy Tan's What We Were Promised (2018), return to Asia intensifies rather than vitiates material structures of alienation. What we find is that they tend to undermine an emerging Twenty-first century racial form that welds the Asian to neoliberal flexibility, even if they often forego critique. This article will describe contemporary Asian/American return fictions in contrast to earlier manifestations of the genre and explore their problematic relationship to categories like Asian American and Anglophone Asian fiction.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"212 - 236"},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45127910","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 : 2023-03-01DOI: 10.1353/lit.2023.a902223
Jessica Hurley
Abstract:This essay analyzes the function of speculative fiction in the ecosystem of literary attempts to understand the imbrication of infrastructure with racial and colonial violence. While the task of making infrastructural violence apprehensible may seem more suited to realism (the literary mode designed to make legible "what is"), I trace a largely unrecognized strand in Johan Galtung's original theorization of structural violence to argue for the importance of "what is not": the potential realizations of human flourishing that are foreclosed by empire's infrastructural violence—potential realizations that can only be grasped through an act of speculation. I make this argument through a reading of Toni Cade Bambara's 1980 novel The Salt Eaters, which begins in a mostly realist mode that captures empire's violent distortions of Black and Native lives through infrastructural violence before transitioning into a more overtly speculative mode towards the end of the novel. Bambara's formal enactment of the speculative turn, I argue, evokes the potential realizations of Black and Native life that have been foreclosed by empire's infrastructural violence and entrains readers to see the world not just as it is, or as it could be, but as it might have been and might yet be. I close the essay with a discussion of the broader speculative turn in anticolonial Black women's fiction, suggesting that both the rise of speculative elements in more realist novels and the efflorescence of Black speculative fiction can be seen as deploying the affordances of speculation to capture the realities of colonial infrastructural violence in the US.
{"title":"Empire, Infrastructural Violence, and the Speculative Turn","authors":"Jessica Hurley","doi":"10.1353/lit.2023.a902223","DOIUrl":"https://doi.org/10.1353/lit.2023.a902223","url":null,"abstract":"Abstract:This essay analyzes the function of speculative fiction in the ecosystem of literary attempts to understand the imbrication of infrastructure with racial and colonial violence. While the task of making infrastructural violence apprehensible may seem more suited to realism (the literary mode designed to make legible \"what is\"), I trace a largely unrecognized strand in Johan Galtung's original theorization of structural violence to argue for the importance of \"what is not\": the potential realizations of human flourishing that are foreclosed by empire's infrastructural violence—potential realizations that can only be grasped through an act of speculation. I make this argument through a reading of Toni Cade Bambara's 1980 novel The Salt Eaters, which begins in a mostly realist mode that captures empire's violent distortions of Black and Native lives through infrastructural violence before transitioning into a more overtly speculative mode towards the end of the novel. Bambara's formal enactment of the speculative turn, I argue, evokes the potential realizations of Black and Native life that have been foreclosed by empire's infrastructural violence and entrains readers to see the world not just as it is, or as it could be, but as it might have been and might yet be. I close the essay with a discussion of the broader speculative turn in anticolonial Black women's fiction, suggesting that both the rise of speculative elements in more realist novels and the efflorescence of Black speculative fiction can be seen as deploying the affordances of speculation to capture the realities of colonial infrastructural violence in the US.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"383 - 409"},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48827724","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 : 2023-03-01DOI: 10.1353/lit.2023.a902220
K. Harlin
Abstract:For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or "Magical Realism." "West African spiritual surrealism," as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba cosmology in fiction as well as the ways these cosmologies can give rise to literary devices that resist hegemonic, Anglo-American centric literary interpretation. Through close readings of Helen Oyeyemi's The Icarus Girl (2005) and Akwaeke Emezi's Freshwater (2018), this article historicizes West African spiritual surrealism as a geographically and ideologically diasporic genre that cannot be properly understood through frameworks of globalization alone. This genre and its writers require critics to read both deeply and widely in order to understand how West African spiritual surrealism places African cosmologies and people always already at the center of literary production.
{"title":"\"One foot on the other side\": Towards a Periodization of West African Spiritual Surrealism","authors":"K. Harlin","doi":"10.1353/lit.2023.a902220","DOIUrl":"https://doi.org/10.1353/lit.2023.a902220","url":null,"abstract":"Abstract:For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or \"Magical Realism.\" \"West African spiritual surrealism,\" as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba cosmology in fiction as well as the ways these cosmologies can give rise to literary devices that resist hegemonic, Anglo-American centric literary interpretation. Through close readings of Helen Oyeyemi's The Icarus Girl (2005) and Akwaeke Emezi's Freshwater (2018), this article historicizes West African spiritual surrealism as a geographically and ideologically diasporic genre that cannot be properly understood through frameworks of globalization alone. This genre and its writers require critics to read both deeply and widely in order to understand how West African spiritual surrealism places African cosmologies and people always already at the center of literary production.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"295 - 322"},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46231420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Dave Eggers's 2013 novel, The Circle, is a digital age dystopia, illustrating a shift from traditional dystopian fears about totalitarian governments toward fears of media monopolies. Despite the modern polish, the Circle social media company illustrates the Althusserian concept of interpellation, where citizen identities are "hailed" by the social media they use. Indeed, "citizenship" itself in Eggers's novel has become digitally privatized. Structurally, social media companies undermine the notion of freedom of speech, even for Americans, by imposing their own standards for discourse, as well as exploiting digital audience labor in terms of content, consumption, and data mining. Individuals posting on social media no longer have the right to define their voice, audience, publicity, or their messages' permanence, because now "their existence is inscribed in the actions of practices governed by rituals defined in the last instance by an ideological apparatus" (Althusser 1971, 170). Dave Eggers's The Circle represents social media companies acting as a ruling class, enforcing ideology through material conditions of the digital factory—the attention industry of social media—by asserting powers of surveillance and structuring corporate-serving conventions of communication. Eggers espouses the dangers of users willingly logging into "digital citizenship" as subjects ruled by social media companies.
{"title":"Meet the New Boss: Dave Eggers's The Circle and the New Digital Totalitarianism","authors":"P. McKenna","doi":"10.1353/lit.2023.0004","DOIUrl":"https://doi.org/10.1353/lit.2023.0004","url":null,"abstract":"Abstract:Dave Eggers's 2013 novel, The Circle, is a digital age dystopia, illustrating a shift from traditional dystopian fears about totalitarian governments toward fears of media monopolies. Despite the modern polish, the Circle social media company illustrates the Althusserian concept of interpellation, where citizen identities are \"hailed\" by the social media they use. Indeed, \"citizenship\" itself in Eggers's novel has become digitally privatized. Structurally, social media companies undermine the notion of freedom of speech, even for Americans, by imposing their own standards for discourse, as well as exploiting digital audience labor in terms of content, consumption, and data mining. Individuals posting on social media no longer have the right to define their voice, audience, publicity, or their messages' permanence, because now \"their existence is inscribed in the actions of practices governed by rituals defined in the last instance by an ideological apparatus\" (Althusser 1971, 170). Dave Eggers's The Circle represents social media companies acting as a ruling class, enforcing ideology through material conditions of the digital factory—the attention industry of social media—by asserting powers of surveillance and structuring corporate-serving conventions of communication. Eggers espouses the dangers of users willingly logging into \"digital citizenship\" as subjects ruled by social media companies.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"115 - 87"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45052804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:What can we learn about a manuscript that was probably lost at sea? How can such an elusive text help us to historicize transatlantic reading practices? In this paper, I trace the reception of a book we famously cannot read or recover: Margaret Fuller's history of the Italian Revolution. In July 1850, Fuller drowned with her husband and son when the Elizabeth wrecked within sight of Fire Island, New York; she was returning to the United States after traveling as an international correspondent for the NYDT. Like her body, her book never surfaced. While many believe the manuscript drowned or was looted by pirates, many others believe it never existed, that Fuller never finished or even started writing it. Literary surmising about Fuller's manuscript survives in wide-ranging archives, which I study as interconnected critical responses: powerful interpretations of Fuller's historical sensibilities as a revolutionary journalist-activist. Fuller's manuscript persists, then, in literary histories that are transatlantic in the most real sense of the word.
{"title":"Margaret Fuller's Illegibilities: Afterlives of an Unreadable, Unrecoverable Manuscript","authors":"Mollie Barnes","doi":"10.1353/lit.2023.0005","DOIUrl":"https://doi.org/10.1353/lit.2023.0005","url":null,"abstract":"Abstract:What can we learn about a manuscript that was probably lost at sea? How can such an elusive text help us to historicize transatlantic reading practices? In this paper, I trace the reception of a book we famously cannot read or recover: Margaret Fuller's history of the Italian Revolution. In July 1850, Fuller drowned with her husband and son when the Elizabeth wrecked within sight of Fire Island, New York; she was returning to the United States after traveling as an international correspondent for the NYDT. Like her body, her book never surfaced. While many believe the manuscript drowned or was looted by pirates, many others believe it never existed, that Fuller never finished or even started writing it. Literary surmising about Fuller's manuscript survives in wide-ranging archives, which I study as interconnected critical responses: powerful interpretations of Fuller's historical sensibilities as a revolutionary journalist-activist. Fuller's manuscript persists, then, in literary histories that are transatlantic in the most real sense of the word.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"116 - 145"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48438363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:While New Modernist Studies is growing as it aims at a more inclusive literary modernism, critical interest in middlebrow literature is declining. This article argues that middlebrow literary scholarship is crucially important for understanding nuances in middle-class American culture in the first half of the twentieth century. Engaging with affect theory, this article claims that "affective mapping," as a method of interpretation, an effect of reading, as well as a narrative style, is especially useful for reading seemingly unremarkable texts. Specifically, through an affective reading of motherhood in Louis Bromfield's Mrs. Parkington (1942), the article demonstrates how middlebrow literature can convey reimagined maternal norms of modernity.
{"title":"Middlebrow Affective Mapping: Reading Modern Motherhood in Louis Bromfield's Mrs. Parkington (1942)","authors":"T. Sommer","doi":"10.1353/lit.2023.0002","DOIUrl":"https://doi.org/10.1353/lit.2023.0002","url":null,"abstract":"Abstract:While New Modernist Studies is growing as it aims at a more inclusive literary modernism, critical interest in middlebrow literature is declining. This article argues that middlebrow literary scholarship is crucially important for understanding nuances in middle-class American culture in the first half of the twentieth century. Engaging with affect theory, this article claims that \"affective mapping,\" as a method of interpretation, an effect of reading, as well as a narrative style, is especially useful for reading seemingly unremarkable texts. Specifically, through an affective reading of motherhood in Louis Bromfield's Mrs. Parkington (1942), the article demonstrates how middlebrow literature can convey reimagined maternal norms of modernity.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"34 - 56"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47585310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Vietnam War narratives typically adopt a limited perspective that Viet Thanh Nguyen, in his book Nothing Ever Dies: Vietnam and the Memory of War (2016), terms "unjust memory," which recalls the past from a self-serving position that remembers the self as human and other as inhuman. In contrast, Nguyen's novel The Sympathizer (2015) represents the war from a more inclusive perspective that Nguyen calls "just memory," which strives to recognize the shared humanity and inhumanity of the self and other. This essay critically examines The Sympathizer as a literary companion to Nothing Ever Dies, arguing that its metatextual qualities shape its project of rewriting the history of the war from the lens of just memory. By employing meta-textual techniques, such as characterizing the narrator as a figure of duality, featuring a nested narrative form, and self-referentially exploring the performativity of writing, The Sympathizer reveals that language and memory can be manipulated to construct varying versions of "truth." In doing so, The Sympathizer suggests that in order to build a more just world, we must first recognize the potential limitations and possibilities of narrative, which can be either weaponized to justify violence or engaged to imagine a future free of war.
{"title":"\"A Man of Two Faces and Two Minds\": Just Memory and Metatextuality in The Sympathizer's Rewriting of the Vietnam War","authors":"Roberta Wolfson","doi":"10.1353/lit.2023.0003","DOIUrl":"https://doi.org/10.1353/lit.2023.0003","url":null,"abstract":"Abstract:Vietnam War narratives typically adopt a limited perspective that Viet Thanh Nguyen, in his book Nothing Ever Dies: Vietnam and the Memory of War (2016), terms \"unjust memory,\" which recalls the past from a self-serving position that remembers the self as human and other as inhuman. In contrast, Nguyen's novel The Sympathizer (2015) represents the war from a more inclusive perspective that Nguyen calls \"just memory,\" which strives to recognize the shared humanity and inhumanity of the self and other. This essay critically examines The Sympathizer as a literary companion to Nothing Ever Dies, arguing that its metatextual qualities shape its project of rewriting the history of the war from the lens of just memory. By employing meta-textual techniques, such as characterizing the narrator as a figure of duality, featuring a nested narrative form, and self-referentially exploring the performativity of writing, The Sympathizer reveals that language and memory can be manipulated to construct varying versions of \"truth.\" In doing so, The Sympathizer suggests that in order to build a more just world, we must first recognize the potential limitations and possibilities of narrative, which can be either weaponized to justify violence or engaged to imagine a future free of war.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"57 - 86"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48715871","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":"Old Style: Unoriginality and Its Uses in Nineteenth-Century U.S. Literature by Claudia Stokes, and: Fair Copy: Relational Poetics and Antebellum American Women's Poetry by Jennifer Putzi (review)","authors":"Madeline L. Zehnder","doi":"10.1353/lit.2023.0006","DOIUrl":"https://doi.org/10.1353/lit.2023.0006","url":null,"abstract":"","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"146 - 153"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46581821","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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