Spelled in several different ways, the word ‘doubt’, usually in the plural ‘doubts’ (dubbi, dubitazioni) appears on the frontispiece of several works printed in Venice and elsewhere in Italy in the sixteenth century. Building on different traditions, ranging from the pseudo‐Aristotelian Problemata to Medieval didactic literature, these texts, normally in the vernacular, address questions that the average reader may have on a variety of topics: from thermal baths to indulgences, from natural philosophy to duel. While usually the term ‘doubt’ means ‘question’, things can be sometimes less straightforward, especially when it comes to religious texts or works penned by unorthodox writers, as in the case of Ortensio Lando's Quattro libri di dubbi. This article will explore paratextual elements of works addressing doubts focusing on a variety of topics such as readership, definitions of doubt and its function, the role of these works in the dissemination of knowledge.
“doubt”这个词有几种不同的拼写方式，通常是复数形式“doubt”(dubbi, dubitazioni)，它出现在16世纪威尼斯和意大利其他地方印刷的几部作品的扉页上。建立在不同的传统，从伪亚里士多德问题到中世纪的说教文学，这些文本，通常在白话中，解决了普通读者可能对各种主题的问题:从温泉浴到放纵，从自然哲学到决斗。虽然“doubt”这个词通常意味着“问题”，但有时事情可能不那么直截了当，特别是当涉及到宗教文本或非正统作家的作品时，就像Ortensio Lando的Quattro libri di dubbi的情况一样。本文将探讨解决疑问的作品的准文本元素，重点关注各种主题，如读者，疑问的定义及其功能，这些作品在知识传播中的作用。
{"title":"Advertising doubt in early modern Italy: Doubt and ignorance in early modern paratexts","authors":"M. Faini","doi":"10.1111/rest.12900","DOIUrl":"https://doi.org/10.1111/rest.12900","url":null,"abstract":"Spelled in several different ways, the word ‘doubt’, usually in the plural ‘doubts’ (dubbi, dubitazioni) appears on the frontispiece of several works printed in Venice and elsewhere in Italy in the sixteenth century. Building on different traditions, ranging from the pseudo‐Aristotelian Problemata to Medieval didactic literature, these texts, normally in the vernacular, address questions that the average reader may have on a variety of topics: from thermal baths to indulgences, from natural philosophy to duel. While usually the term ‘doubt’ means ‘question’, things can be sometimes less straightforward, especially when it comes to religious texts or works penned by unorthodox writers, as in the case of Ortensio Lando's Quattro libri di dubbi. This article will explore paratextual elements of works addressing doubts focusing on a variety of topics such as readership, definitions of doubt and its function, the role of these works in the dissemination of knowledge.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77741683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay addresses the Secreti diversi etmiracolosi, one of the many books of secrets (collections of medical and craft recipes) crowding the sixteenth‐century Venetian book market. First published in 1563 and spuriously ascribed to the physician Gabriele Falloppia, this book underwent significant structural changes already in occasion of its second edition (1565). The editors of the first and second editions, Giovanni Antonio Di Maria and Borgaruccio Borgarucci, discussed their respective choices regarding the arrangement of the collection in their prefatory letters. This contribution examines the prefatory and organizational paratexts of both editions, which reveal a tension between the readability of the book and there liability of its contents. It will be argued that the different paratextual strategies sued by Di Maria and Borgarucci had profound impact on the contours of ‘Falloppia'’s literary identity, on the functions envisioned for the collection, and on the epistemological value of the recipes therein. The editorial history of the Secreti diversi also prompts broader considerations on the success of books of secrets, showing how this was not only a matter of content but also, and often more importantly, how that content was presented to the readers.
这篇文章讨论了secret diversity etmiracolosi，这是拥挤在16世纪威尼斯图书市场的众多秘密书籍(医学和工艺食谱的集合)之一。这本书于1563年首次出版，并被虚假地归因于加布里埃尔·法洛皮亚医生，在其第二版(1565年)中已经经历了重大的结构变化。第一版和第二版的编辑Giovanni Antonio Di Maria和Borgaruccio Borgarucci在他们的序言中讨论了他们各自对该系列安排的选择。这一贡献检查了序言和组织两个版本的文本，这揭示了书的可读性和它的内容的责任之间的紧张关系。本文认为，迪玛丽亚和博尔加鲁奇所采用的不同的双文本策略对《法洛皮亚》文学身份的轮廓、对这部文集的功能设想以及其中的食谱的认识论价值产生了深远的影响。《秘密多样性》的编辑历史也促使人们对秘密书的成功进行更广泛的思考，表明这不仅是内容的问题，而且往往更重要的是，内容如何呈现给读者。
{"title":"‘Come parto imperfetto’: Paratexts and organization in a sixteenth‐century book of secrets","authors":"Ruben Celani","doi":"10.1111/rest.12898","DOIUrl":"https://doi.org/10.1111/rest.12898","url":null,"abstract":"This essay addresses the Secreti diversi etmiracolosi, one of the many books of secrets (collections of medical and craft recipes) crowding the sixteenth‐century Venetian book market. First published in 1563 and spuriously ascribed to the physician Gabriele Falloppia, this book underwent significant structural changes already in occasion of its second edition (1565). The editors of the first and second editions, Giovanni Antonio Di Maria and Borgaruccio Borgarucci, discussed their respective choices regarding the arrangement of the collection in their prefatory letters. This contribution examines the prefatory and organizational paratexts of both editions, which reveal a tension between the readability of the book and there liability of its contents. It will be argued that the different paratextual strategies sued by Di Maria and Borgarucci had profound impact on the contours of ‘Falloppia'’s literary identity, on the functions envisioned for the collection, and on the epistemological value of the recipes therein. The editorial history of the Secreti diversi also prompts broader considerations on the success of books of secrets, showing how this was not only a matter of content but also, and often more importantly, how that content was presented to the readers.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87492001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2020 Renaissance Studies [34 (2020): 243–59] published an essay entitled “Lorenzo de' Medici and Inheritance Law in Florence,” discussing the use of legislation by Lorenzo de' Medici to advantage Carlo Borromei in inheritance from his uncle, to the disadvantage of his cousin, Beatrice, who was married to a Pazzi. The legislation removed legal uncertainty in Florentine inheritance law. Another consilium for the Pazzi has emerged, arising in the aftermath of the legislation, taking an entirely different path to try to deny Carlo Borromei full access to the estate, on the grounds he was not a Florentine citizen and so unable to enjoy the benefits of Florence's new statute. The author of the consilium was a Sienese. His arguments shift the grounds of discussion, while not entirely escaping the whiff of sour grapes by the Pazzi at having lost in the first round. Citizenship emerges as a performative matter, described in terms of things like residence and tax paying. But it was also a matter at the discretion of other citizens. The renewed legal assault on the Borromei offers insight into the many meanings and dimensions of citizenship, as well as the resolve, soon to become fatal, of the Pazzi.
{"title":"Citizenship and inheritance law in Florence: Round two of the conflict between and Borromei and Pazzi","authors":"Thomas Kuehn","doi":"10.1111/rest.12895","DOIUrl":"https://doi.org/10.1111/rest.12895","url":null,"abstract":"In 2020 Renaissance Studies [34 (2020): 243–59] published an essay entitled “Lorenzo de' Medici and Inheritance Law in Florence,” discussing the use of legislation by Lorenzo de' Medici to advantage Carlo Borromei in inheritance from his uncle, to the disadvantage of his cousin, Beatrice, who was married to a Pazzi. The legislation removed legal uncertainty in Florentine inheritance law. Another consilium for the Pazzi has emerged, arising in the aftermath of the legislation, taking an entirely different path to try to deny Carlo Borromei full access to the estate, on the grounds he was not a Florentine citizen and so unable to enjoy the benefits of Florence's new statute. The author of the consilium was a Sienese. His arguments shift the grounds of discussion, while not entirely escaping the whiff of sour grapes by the Pazzi at having lost in the first round. Citizenship emerges as a performative matter, described in terms of things like residence and tax paying. But it was also a matter at the discretion of other citizens. The renewed legal assault on the Borromei offers insight into the many meanings and dimensions of citizenship, as well as the resolve, soon to become fatal, of the Pazzi.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"53 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83317627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Title‐pages represent an interesting and under‐researched type of paratextual material in the context of the Italian early modern book market. Drawing on pragma‐linguistic approaches not yet applied in the Italian context, this paper offers an analysis of title‐pages of vernacular grammars and lexicographic works that were printed in Venice in the sixteenth and early seventeenth century (31 works).In Venice, which was the hub of vernacular codification, this new genre saw increasing attempts at popularization as more and more readers demanded straightforward tools that would help them learn literary Tuscan. My analysis focuses on the marketing strategies employed by publishers, printers, and authors – viewed together as a community of practice – on the title‐pages of these works. Focus is placed on the genre labels employed in primary titles, the presentation of the author's credentials, intended readership, printer and publisher, and dedication, as well as on the modifications applied by Venetian publishers when it came to re‐print and popularize non‐Venetian works. By exploring strategies used to guide and attract target audiences, this article aims to show that linguistic approaches are useful in the study of Italian paratexts and confirms the importance of including paratextual features in studies of historical sociolinguistics.
{"title":"Advertising grammars and dictionaries in the Venetian printing market: A linguistic analysis of title pages","authors":"Eleonora Serra","doi":"10.1111/rest.12896","DOIUrl":"https://doi.org/10.1111/rest.12896","url":null,"abstract":"Title‐pages represent an interesting and under‐researched type of paratextual material in the context of the Italian early modern book market. Drawing on pragma‐linguistic approaches not yet applied in the Italian context, this paper offers an analysis of title‐pages of vernacular grammars and lexicographic works that were printed in Venice in the sixteenth and early seventeenth century (31 works).In Venice, which was the hub of vernacular codification, this new genre saw increasing attempts at popularization as more and more readers demanded straightforward tools that would help them learn literary Tuscan. My analysis focuses on the marketing strategies employed by publishers, printers, and authors – viewed together as a community of practice – on the title‐pages of these works. Focus is placed on the genre labels employed in primary titles, the presentation of the author's credentials, intended readership, printer and publisher, and dedication, as well as on the modifications applied by Venetian publishers when it came to re‐print and popularize non‐Venetian works. By exploring strategies used to guide and attract target audiences, this article aims to show that linguistic approaches are useful in the study of Italian paratexts and confirms the importance of including paratextual features in studies of historical sociolinguistics.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75085088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A question of genre: Philip Melanchthon's oratorical debut at Wittenberg University","authors":"Isabella Walser‐Bürgler","doi":"10.1111/rest.12894","DOIUrl":"https://doi.org/10.1111/rest.12894","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"243 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75849059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reading Europe in the Renaissance: continent, personification and myth in Ronsard's Discours de l'alteration et change des choses humaines","authors":"Niall Oddy","doi":"10.1111/rest.12892","DOIUrl":"https://doi.org/10.1111/rest.12892","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"58 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91341682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Criticism in early modern English drama has become increasingly attentive to how the ideologies of racial Whiteness are formed on the English stage. However, this scholarship has not yet considered how White supremacy is dramatically constructed against the male, Muslim, Ottoman, a figure who, I argue, would have been performed as phenotypically white on the English stage. By examining the racialisation of the Ottoman Soliman in Thomas Kyd's late sixteenth‐century play The Tragedy of Solyman and Perseda, this article illustrates how anxieties around the Muslim character's white sameness are negotiated by fashioning the Whiteness, or fairness, of the Greek, Christian Perseda as ‘natural’, while correspondingly framing Soliman's whiteness as ‘artificial’. Kyd renders Soliman's whiteness in this way by drawing on early modern English cosmetic language, customs, and debates. By turning to the male Muslim Ottoman figure, this study extends understandings of how racial Whiteness was shaped in early modern English culture, by illustrating how White supremacy is developed out of a Muslim‐Christian dichotomy and therefore in conjunction with Christian supremacy.
{"title":"White Skin, White Mask: Constructing Whiteness in Thomas Kyd's The Tragedy of Solyman and Perseda","authors":"Hassana Moosa","doi":"10.1111/rest.12890","DOIUrl":"https://doi.org/10.1111/rest.12890","url":null,"abstract":"Criticism in early modern English drama has become increasingly attentive to how the ideologies of racial Whiteness are formed on the English stage. However, this scholarship has not yet considered how White supremacy is dramatically constructed against the male, Muslim, Ottoman, a figure who, I argue, would have been performed as phenotypically white on the English stage. By examining the racialisation of the Ottoman Soliman in Thomas Kyd's late sixteenth‐century play The Tragedy of Solyman and Perseda, this article illustrates how anxieties around the Muslim character's white sameness are negotiated by fashioning the Whiteness, or fairness, of the Greek, Christian Perseda as ‘natural’, while correspondingly framing Soliman's whiteness as ‘artificial’. Kyd renders Soliman's whiteness in this way by drawing on early modern English cosmetic language, customs, and debates. By turning to the male Muslim Ottoman figure, this study extends understandings of how racial Whiteness was shaped in early modern English culture, by illustrating how White supremacy is developed out of a Muslim‐Christian dichotomy and therefore in conjunction with Christian supremacy.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"71 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86127588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite the many historical references to wealth, military strength and political efficiency, Turks were generally represented as violent, lustful and despotic figures in early modern cultural discourses. The stereotyped cultural Turk soon populated the London stages, thus moulding a recognisable dramatic type whose brutality and sexual appetite were also combined with political corruption. However, as this contribution seeks to demonstrate, Fulke Greville's Mustapha (1609) and Roger Boyle's Mustapha (1665) instead discuss characters who digress from traditional Orientalist portrayals of Turks whose sexual incontinence parallels with political corruption. In particular, this article engages with intersections between gender studies and Orientalism to investigate how Roxolana, in both plays, transgresses traditional representations of the female Christian‐to‐Muslim convert, whose lust distracts the Turkish ruler from his political duties. Both playwrights explore Roxolana's active interest in affairs of the Ottoman Court and the unexpected alliance she forms with Hungarian Queen Isabella when she, at the Hungarian Queen's request, protects Isabella's infant son and the Hungarian crown jewels. Their friendship appears to echo gift exchanges between Queen Elizabeth I and Turkish Queen Mother, Safiye Sultan, after the establishment of the Levant Company, which are detailed in various letters exchanged between the two monarchs in 1599. In light of this, I explore how Greville and Boyle could be commenting upon the political turmoil that James I's succession and the Stuart Restoration brought about in England, given that the country was more stable in a religious and political sense under the rule of former monarch Elizabeth I.
{"title":"‘For Few Mean Ill in Vaine’: Roxolana and the Clash of Passion and Politics in the Ottoman Court in Fulke Greville's The Tragedy of Mustapha (1609) and Roger Boyle's The Tragedy of Mustapha (1665)","authors":"Aisha Hussain","doi":"10.1111/rest.12883","DOIUrl":"https://doi.org/10.1111/rest.12883","url":null,"abstract":"Despite the many historical references to wealth, military strength and political efficiency, Turks were generally represented as violent, lustful and despotic figures in early modern cultural discourses. The stereotyped cultural Turk soon populated the London stages, thus moulding a recognisable dramatic type whose brutality and sexual appetite were also combined with political corruption. However, as this contribution seeks to demonstrate, Fulke Greville's Mustapha (1609) and Roger Boyle's Mustapha (1665) instead discuss characters who digress from traditional Orientalist portrayals of Turks whose sexual incontinence parallels with political corruption. In particular, this article engages with intersections between gender studies and Orientalism to investigate how Roxolana, in both plays, transgresses traditional representations of the female Christian‐to‐Muslim convert, whose lust distracts the Turkish ruler from his political duties. Both playwrights explore Roxolana's active interest in affairs of the Ottoman Court and the unexpected alliance she forms with Hungarian Queen Isabella when she, at the Hungarian Queen's request, protects Isabella's infant son and the Hungarian crown jewels. Their friendship appears to echo gift exchanges between Queen Elizabeth I and Turkish Queen Mother, Safiye Sultan, after the establishment of the Levant Company, which are detailed in various letters exchanged between the two monarchs in 1599. In light of this, I explore how Greville and Boyle could be commenting upon the political turmoil that James I's succession and the Stuart Restoration brought about in England, given that the country was more stable in a religious and political sense under the rule of former monarch Elizabeth I.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90472793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Critical race readings of early modern drama have often centred discourses on colour and the binary of black and white in English racecraft, with very important results. However, I submit the need to expand our analytical lenses further, to effectively engage the recognized instability of racial difference beyond skin colour and the dominant blackwhite binary. By doing so, we can unearth deeper nuances of the representation of women of colour on the early modern stage. Seventeenthcentury English drama witnessed a growth in portrayals of Indian queens or similarly elite Indian women, who, despite their layers of alterity in gender, race and religion, were frequently represented on reverential terms of wealth, power and authority. Crucially, this was achieved by their alterity being acknowledged yet carefully managed, enabling their celebration. It is this remarkable management, and indeed racial privileging, of the elite Indian woman in early modern English drama that is the subject of this paper. Here, I will address the potency of the Indian imperial woman or queen in the English cultural imagination in this period, built in no small part from her frequent dramatic representations, and how her influence emerged at a moment of national crisis: during the personal rule of Charles I and especially in relation to the contested queenship of his foreign consort, Henrietta Maria. I will examine William Davenant’s 1635 court masque, The Temple of Love, a production commissioned by Henrietta Maria and in which she performed Indamora, the Indian queen. This masque highlights perhaps the most significant yet overlooked aspect of Indian representations in early modern drama:
{"title":"Racecraft and the Indian Queen in The Temple of Love (1635)","authors":"Lubaaba Al‐Azami","doi":"10.1111/rest.12887","DOIUrl":"https://doi.org/10.1111/rest.12887","url":null,"abstract":"Critical race readings of early modern drama have often centred discourses on colour and the binary of black and white in English racecraft, with very important results. However, I submit the need to expand our analytical lenses further, to effectively engage the recognized instability of racial difference beyond skin colour and the dominant blackwhite binary. By doing so, we can unearth deeper nuances of the representation of women of colour on the early modern stage. Seventeenthcentury English drama witnessed a growth in portrayals of Indian queens or similarly elite Indian women, who, despite their layers of alterity in gender, race and religion, were frequently represented on reverential terms of wealth, power and authority. Crucially, this was achieved by their alterity being acknowledged yet carefully managed, enabling their celebration. It is this remarkable management, and indeed racial privileging, of the elite Indian woman in early modern English drama that is the subject of this paper. Here, I will address the potency of the Indian imperial woman or queen in the English cultural imagination in this period, built in no small part from her frequent dramatic representations, and how her influence emerged at a moment of national crisis: during the personal rule of Charles I and especially in relation to the contested queenship of his foreign consort, Henrietta Maria. I will examine William Davenant’s 1635 court masque, The Temple of Love, a production commissioned by Henrietta Maria and in which she performed Indamora, the Indian queen. This masque highlights perhaps the most significant yet overlooked aspect of Indian representations in early modern drama:","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79172599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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