Abstract:Lines 175–88 of Beowulf constitute a longstanding interpretive crux. One solution to this crux has been to regard the passage as wholly or partly inauthentic—a solution advocated by no less a scholar than J. R. R. Tolkien in his influential British Academy lecture on Beowulf. Evaluations of the passage's authenticity have hitherto centered on the question of whether it can be reconciled with the theological and aesthetic unities maintained throughout the poem. Notably absent from the discussion surrounding this passage is consideration of whether the hypothesis of interpolation can be reconciled with what is known about Anglo-Saxon scribal behavior and the transmission of Old English poetry. The present article aims to fill that void by surveying a wide range of evidence bearing on the historical plausibility of the claim that an interpolation is present in lines 175–88. It mounts a multifaceted defense of the passage's authenticity and demonstrates that an interpolation of the sort envisioned by Tolkien and other eminent scholars would be an unparalleled phenomenon in the extant poetic records.
{"title":"Beowulf Lines 175–88 and the Transmission of Old English Poetry","authors":"Leonard Neidorf","doi":"10.1353/sip.2022.0000","DOIUrl":"https://doi.org/10.1353/sip.2022.0000","url":null,"abstract":"Abstract:Lines 175–88 of Beowulf constitute a longstanding interpretive crux. One solution to this crux has been to regard the passage as wholly or partly inauthentic—a solution advocated by no less a scholar than J. R. R. Tolkien in his influential British Academy lecture on Beowulf. Evaluations of the passage's authenticity have hitherto centered on the question of whether it can be reconciled with the theological and aesthetic unities maintained throughout the poem. Notably absent from the discussion surrounding this passage is consideration of whether the hypothesis of interpolation can be reconciled with what is known about Anglo-Saxon scribal behavior and the transmission of Old English poetry. The present article aims to fill that void by surveying a wide range of evidence bearing on the historical plausibility of the claim that an interpolation is present in lines 175–88. It mounts a multifaceted defense of the passage's authenticity and demonstrates that an interpolation of the sort envisioned by Tolkien and other eminent scholars would be an unparalleled phenomenon in the extant poetic records.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"1 - 24"},"PeriodicalIF":0.2,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249737","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:This article contextualizes John Webster's The Duchess of Malfi within early modern usage of the adage "homo homini lupus" in the period's political philosophy. Webster draws on sixteenth-century usage of the phrase in the work of Scottish and French resistance thinkers to depict tyranny, but then he extends its meaning through Ferdinand's lycanthropy. The Duchess of Malfi anticipates representations of human nature typical of seventeenth-century contract theory but is skeptical of political solutions to human brutality. The play exploits the human negative exceptionalist logic that is implicit within "homo homini lupus" to create a deeply pessimistic depiction of human nature and the future of politics.
摘要:本文将约翰·韦伯斯特(John Webster)的《马尔菲公爵夫人》(The Duchess of Malfi)置于现代早期政治哲学中“人与狼”(homo homini lupus)这句谚语的语境中进行分析。韦伯斯特借鉴了16世纪苏格兰和法国抵抗运动思想家的作品中对这个词的用法来描述暴政，但随后他通过费迪南德的狼人行为扩展了它的含义。马尔菲公爵夫人期待17世纪契约理论中典型的人性表现，但对人类暴行的政治解决方案持怀疑态度。该剧利用了隐含在“人类狼疮”中的人类消极例外论逻辑，对人性和政治的未来进行了深刻的悲观描写。
{"title":"Homo Homini Lupus: Webster's The Duchess of Malfi and the Vicissitudes of a Political Adage","authors":"Jeffrey B. Griswold","doi":"10.1353/sip.2022.0006","DOIUrl":"https://doi.org/10.1353/sip.2022.0006","url":null,"abstract":"Abstract:This article contextualizes John Webster's The Duchess of Malfi within early modern usage of the adage \"homo homini lupus\" in the period's political philosophy. Webster draws on sixteenth-century usage of the phrase in the work of Scottish and French resistance thinkers to depict tyranny, but then he extends its meaning through Ferdinand's lycanthropy. The Duchess of Malfi anticipates representations of human nature typical of seventeenth-century contract theory but is skeptical of political solutions to human brutality. The play exploits the human negative exceptionalist logic that is implicit within \"homo homini lupus\" to create a deeply pessimistic depiction of human nature and the future of politics.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"170 - 190"},"PeriodicalIF":0.2,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43555933","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:Gerrard Herbert, a keen observer of the Jacobean court but of undetermined identity, wrote a series of letters in the period of 1617–19 that respond to dramatic performances, usually court masques. In some cases, Herbert provides the only extant information about certain productions, most notably that of Shakespeare's Pericles in May 1619. His personal letters cover a range of topics, but this essay focuses on his accounts of drama, including the loss through fire of Whitehall's Banqueting House in January 1619, a loss of a crucial theater venue. The crowning achievement for Herbert, in terms of commentary on drama, came in his apparent eye-witness account of the Pericles performance, recorded in his last letter about drama. A transcription of the pertinent parts of the letter is included here. Herbert as letter writer provides information, insight, and perspective on a court caught up in the splendor of masques and dramatic performances. He thereby expands knowledge of English theater history in its richest period.
{"title":"Gerrard Herbert's Reports about Drama Performances, 1617–19","authors":"D. Bergeron","doi":"10.1353/sip.2021.0026","DOIUrl":"https://doi.org/10.1353/sip.2021.0026","url":null,"abstract":"Abstract:Gerrard Herbert, a keen observer of the Jacobean court but of undetermined identity, wrote a series of letters in the period of 1617–19 that respond to dramatic performances, usually court masques. In some cases, Herbert provides the only extant information about certain productions, most notably that of Shakespeare's Pericles in May 1619. His personal letters cover a range of topics, but this essay focuses on his accounts of drama, including the loss through fire of Whitehall's Banqueting House in January 1619, a loss of a crucial theater venue. The crowning achievement for Herbert, in terms of commentary on drama, came in his apparent eye-witness account of the Pericles performance, recorded in his last letter about drama. A transcription of the pertinent parts of the letter is included here. Herbert as letter writer provides information, insight, and perspective on a court caught up in the splendor of masques and dramatic performances. He thereby expands knowledge of English theater history in its richest period.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"725 - 741"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48047658","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:John Woodward's collection of geological specimens, bequeathed to Cambridge University in 1728, was one of the first public institutional collections of its kind. The collector himself led a checkered career and was frequently accused of self-importance and arrogance by contemporaries. Studies of Woodward's legacy project have hence tended to characterize his bequest as an exercise in self-aggrandizement at the expense of its usefulness to subsequent generations of geologists. However, I propose that by resituating Woodward's elaborate will and testament in the context of his distinctive collecting and taxonomic practices, the Woodwardian Museum can be reframed as his attempt to perpetuate an embodied methodology for understanding the natural world. By recontextualizing Woodward's legacy project, I offer a reassessment of a prolonged discourse that has conflated his childlessness with a desire to replicate himself, suggesting that his collection tries to foster a meaningful intellectual progeny rather than to merely construct an elaborate funerary monument.
{"title":"Instead of Children: Legacy and Embodied Interpretation in the Woodwardian Museum","authors":"W. G. Burgess","doi":"10.1353/sip.2021.0028","DOIUrl":"https://doi.org/10.1353/sip.2021.0028","url":null,"abstract":"Abstract:John Woodward's collection of geological specimens, bequeathed to Cambridge University in 1728, was one of the first public institutional collections of its kind. The collector himself led a checkered career and was frequently accused of self-importance and arrogance by contemporaries. Studies of Woodward's legacy project have hence tended to characterize his bequest as an exercise in self-aggrandizement at the expense of its usefulness to subsequent generations of geologists. However, I propose that by resituating Woodward's elaborate will and testament in the context of his distinctive collecting and taxonomic practices, the Woodwardian Museum can be reframed as his attempt to perpetuate an embodied methodology for understanding the natural world. By recontextualizing Woodward's legacy project, I offer a reassessment of a prolonged discourse that has conflated his childlessness with a desire to replicate himself, suggesting that his collection tries to foster a meaningful intellectual progeny rather than to merely construct an elaborate funerary monument.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"765 - 786"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46923320","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":"Louis Round Wilson Prize for 2020","authors":"Reid Barbour","doi":"10.1353/sip.2021.0021","DOIUrl":"https://doi.org/10.1353/sip.2021.0021","url":null,"abstract":"","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"i - i"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45095853","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:This article argues that Jonathan Swift, dean of St. Patrick's, Dublin, is the creator of the four maps and two diagrams that appeared in the first edition of Captain Lemuel Gulliver's Travels into Several Remote Nations and in most editions since. Swift's enlightened critique of modernity accords mapping its central place in modern learning and enlightenment discovery. Mapping errors cluster in the third voyage, creating an uncorrectable map that disempowers the project of inevitable progress toward ever more perfect maps. A venerable and entrenched scholarly consensus holds that the bookseller/publisher added the maps and diagrams, employing a hack engraver to design them from reading the manuscript. External evidence indicates that Swift's manuscript contained more than the text of the voyages; the text itself references the diagrams. Internal evidence in the third voyage makes the received hypothesis untenable. No one making a map by reading the text could commit those errors. They are there for the reader to enjoy the visceral horror of finding the map go wrong.
{"title":"Lemuel Gulliver, Map-Maker","authors":"R. Janes","doi":"10.1353/sip.2021.0029","DOIUrl":"https://doi.org/10.1353/sip.2021.0029","url":null,"abstract":"Abstract:This article argues that Jonathan Swift, dean of St. Patrick's, Dublin, is the creator of the four maps and two diagrams that appeared in the first edition of Captain Lemuel Gulliver's Travels into Several Remote Nations and in most editions since. Swift's enlightened critique of modernity accords mapping its central place in modern learning and enlightenment discovery. Mapping errors cluster in the third voyage, creating an uncorrectable map that disempowers the project of inevitable progress toward ever more perfect maps. A venerable and entrenched scholarly consensus holds that the bookseller/publisher added the maps and diagrams, employing a hack engraver to design them from reading the manuscript. External evidence indicates that Swift's manuscript contained more than the text of the voyages; the text itself references the diagrams. Internal evidence in the third voyage makes the received hypothesis untenable. No one making a map by reading the text could commit those errors. They are there for the reader to enjoy the visceral horror of finding the map go wrong.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"787 - 826"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47239762","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:This essay argues that Milton's youthful interest in virginity is a rejection of procreative heterosexuality. A large number of Milton's early works figure virginity not as an immature life stage or a prelude to marriage but rather as a lifelong state that can confer poetic and prophetic powers on earth and a privileged place in heaven. Moreover, although much of the limited scholarship that has examined Milton's ideas about virginity has focused on men, this essay demonstrates that Milton's most charismatic and remarkable virgins are all women: the Lady of A Mask, Melancholy in Il Penseroso, and the unnamed lady of "Sonnet 9." Taken together, these three works ask us to reevaluate many longstanding assumptions about Milton's attitude toward women, gender, and sexuality.
{"title":"Milton's Ladies","authors":"Brooke Conti","doi":"10.1353/sip.2021.0027","DOIUrl":"https://doi.org/10.1353/sip.2021.0027","url":null,"abstract":"Abstract:This essay argues that Milton's youthful interest in virginity is a rejection of procreative heterosexuality. A large number of Milton's early works figure virginity not as an immature life stage or a prelude to marriage but rather as a lifelong state that can confer poetic and prophetic powers on earth and a privileged place in heaven. Moreover, although much of the limited scholarship that has examined Milton's ideas about virginity has focused on men, this essay demonstrates that Milton's most charismatic and remarkable virgins are all women: the Lady of A Mask, Melancholy in Il Penseroso, and the unnamed lady of \"Sonnet 9.\" Taken together, these three works ask us to reevaluate many longstanding assumptions about Milton's attitude toward women, gender, and sexuality.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"742 - 764"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47049287","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:This article considers the thematic and textual affinities between Dante Alighieri's and Geoffrey Chaucer's ekphrastic explorations in Purgatory 10 and House of Fame 1. In these episodes, both narrators become observers as they examine engravings of significant events. Evaluating characters, stories, and images, and contemplating the convoluted relationship between artistic representation and truth, Dante and Geffrey diverge in their attitudes toward emotional response to art. While Dante consistently refuses to allow the visual narratives to emotionally impact him, Geffrey is deeply moved by Dido's portrayal. Though the narrators' reactions to the decorated walls are contrasted, both are informed by the same search for truth within artistic depiction, be it image or text. Thus, for Dante, avoiding emotional engagement is a prerequisite for discerning the doctrine underlying the scenes he views, whereas for Geffrey, compassion for the illustrated figures is precisely what prompts him to reject such representations and search for truth elsewhere.
{"title":"On Truth, Pietà, and Reader Response in Dante's Purgatory 10 and Chaucer's House of Fame 1","authors":"Shachar Livne","doi":"10.1353/sip.2021.0022","DOIUrl":"https://doi.org/10.1353/sip.2021.0022","url":null,"abstract":"Abstract:This article considers the thematic and textual affinities between Dante Alighieri's and Geoffrey Chaucer's ekphrastic explorations in Purgatory 10 and House of Fame 1. In these episodes, both narrators become observers as they examine engravings of significant events. Evaluating characters, stories, and images, and contemplating the convoluted relationship between artistic representation and truth, Dante and Geffrey diverge in their attitudes toward emotional response to art. While Dante consistently refuses to allow the visual narratives to emotionally impact him, Geffrey is deeply moved by Dido's portrayal. Though the narrators' reactions to the decorated walls are contrasted, both are informed by the same search for truth within artistic depiction, be it image or text. Thus, for Dante, avoiding emotional engagement is a prerequisite for discerning the doctrine underlying the scenes he views, whereas for Geffrey, compassion for the illustrated figures is precisely what prompts him to reject such representations and search for truth elsewhere.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"605 - 630"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47149228","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:In late February 1601, while prisoner in the Tower and awaiting execution for treason, Robert Devereux, 2nd Earl of Essex, composed a penitential poem modeled on Robert Southwell's immensely popular "St. Peter's Complaint." My critical edition of the earl's poem (Studies in Philology, 1980) was based on eleven texts. Since then another halfdozen versions of the poem have come to light. They reveal how Essex's last brush with the Muses became one of the most popular and widely distributed poems of the early Stuart era. Meanwhile, in 2016, Hugh Gazzard's article in Studies in English Literature revived Nicholas Breton's claim to the poem. Breton has been credited with it since 1867 on wholly stylistic grounds, for there is no contemporary attribution to Breton or anyone else, only five manuscript attributions to Essex. Gazzard offers the most extensive analysis to date of parallel passages in Breton's verse and Essex's poem; he argues that they reveal Breton's responsibility for the work. I contest this analysis by showing that these passages are for the most part neither parallel nor unique and that the methodology itself can be used to show that other poets are just as likely, indeed far more likely, to have written it. The important takeaway here is that the "parallel passages" methodology as a test for authorship must be used, if at all, with extreme caution. In this case it in no way challenges Essex's authorship of this, his last poem.
{"title":"The Earl of Essex's Last Poem: Texts, Transmission, and Authorship","authors":"Steven W. May","doi":"10.1353/sip.2021.0025","DOIUrl":"https://doi.org/10.1353/sip.2021.0025","url":null,"abstract":"Abstract:In late February 1601, while prisoner in the Tower and awaiting execution for treason, Robert Devereux, 2nd Earl of Essex, composed a penitential poem modeled on Robert Southwell's immensely popular \"St. Peter's Complaint.\" My critical edition of the earl's poem (Studies in Philology, 1980) was based on eleven texts. Since then another halfdozen versions of the poem have come to light. They reveal how Essex's last brush with the Muses became one of the most popular and widely distributed poems of the early Stuart era. Meanwhile, in 2016, Hugh Gazzard's article in Studies in English Literature revived Nicholas Breton's claim to the poem. Breton has been credited with it since 1867 on wholly stylistic grounds, for there is no contemporary attribution to Breton or anyone else, only five manuscript attributions to Essex. Gazzard offers the most extensive analysis to date of parallel passages in Breton's verse and Essex's poem; he argues that they reveal Breton's responsibility for the work. I contest this analysis by showing that these passages are for the most part neither parallel nor unique and that the methodology itself can be used to show that other poets are just as likely, indeed far more likely, to have written it. The important takeaway here is that the \"parallel passages\" methodology as a test for authorship must be used, if at all, with extreme caution. In this case it in no way challenges Essex's authorship of this, his last poem.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"698 - 724"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48932546","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:This article explores the use of book metaphors in a selection of late medieval Middle English sermons, both orthodox and Wycliffite. These book metaphors engage with the materiality of the codex in a variety of ways, drawing on understandings of scribal practice, the dyptical structure of the physical book, learning and reading practices, and parchment production. Although sermon texts are usually considered void of any creativity, these book metaphors prove diverse and inventive. Through a close reading of particular case studies, I argue that sermons often express an ambivalence toward the material text, at once warning of the biblioclastic effect of sin and the textual manipulation of the devil and offering the devout a metaphorical means of writing their own salvation. The article engages with historical criticism on the use, purpose, and function of the sermon form while considering how these written and spoken texts themselves responded to late medieval literacy, book use, book production, and other material objects.
{"title":"Metaphors of Textual Materiality in Late Medieval Middle English Sermons","authors":"Eleanor Baker","doi":"10.1353/sip.2021.0023","DOIUrl":"https://doi.org/10.1353/sip.2021.0023","url":null,"abstract":"Abstract:This article explores the use of book metaphors in a selection of late medieval Middle English sermons, both orthodox and Wycliffite. These book metaphors engage with the materiality of the codex in a variety of ways, drawing on understandings of scribal practice, the dyptical structure of the physical book, learning and reading practices, and parchment production. Although sermon texts are usually considered void of any creativity, these book metaphors prove diverse and inventive. Through a close reading of particular case studies, I argue that sermons often express an ambivalence toward the material text, at once warning of the biblioclastic effect of sin and the textual manipulation of the devil and offering the devout a metaphorical means of writing their own salvation. The article engages with historical criticism on the use, purpose, and function of the sermon form while considering how these written and spoken texts themselves responded to late medieval literacy, book use, book production, and other material objects.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"631 - 665"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44371329","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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