Poet Lewis MacAdams is widely regarded as a founder of the movement to restore the Los Angeles River, a 51-mile concrete drainage channel that once served as the region’s primary water source. His nonprofit organization Friends of the Los Angeles River (FoLAR) began as a one-off performance art piece in 1985. Scholars in urban planning and geography have addressed FoLAR as a case study for grassroots environmentalism, but little attention has been paid to the interplay between poetry and politics in MacAdams’s work. Given that MacAdams described FoLAR as a “forty-year artwork to bring the Los Angeles River back to life,” it is worth entertaining the quixotic premise that a nonprofit could double as a conceptual artwork or performance poem. If we consider his literary efforts in conversation with his activism, the premise seems less far-fetched. In this essay, I trace MacAdams’s path from the New York School to the poets’ enclave of Bolinas, California, in the 1970s to the concrete banks of the Los Angeles River. I argue that he devised political-poetic strategies to intervene in planning bureaucracies and that FoLAR should be understood as a durational utopian experiment, pursuing transformative possibilities from within dispiriting everyday conditions.
{"title":"Nonprofit Poetry: Lewis MacAdams and the Art of Environmental Bureaucracy","authors":"Nick Earhart","doi":"10.1093/alh/ajae070","DOIUrl":"https://doi.org/10.1093/alh/ajae070","url":null,"abstract":"Poet Lewis MacAdams is widely regarded as a founder of the movement to restore the Los Angeles River, a 51-mile concrete drainage channel that once served as the region’s primary water source. His nonprofit organization Friends of the Los Angeles River (FoLAR) began as a one-off performance art piece in 1985. Scholars in urban planning and geography have addressed FoLAR as a case study for grassroots environmentalism, but little attention has been paid to the interplay between poetry and politics in MacAdams’s work. Given that MacAdams described FoLAR as a “forty-year artwork to bring the Los Angeles River back to life,” it is worth entertaining the quixotic premise that a nonprofit could double as a conceptual artwork or performance poem. If we consider his literary efforts in conversation with his activism, the premise seems less far-fetched. In this essay, I trace MacAdams’s path from the New York School to the poets’ enclave of Bolinas, California, in the 1970s to the concrete banks of the Los Angeles River. I argue that he devised political-poetic strategies to intervene in planning bureaucracies and that FoLAR should be understood as a durational utopian experiment, pursuing transformative possibilities from within dispiriting everyday conditions.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142225619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reviews four recent works examining the cultural politics of consumption. It explores the methodological and theoretical distinctions and commonalities between three works which share an historical focus. It notes the different emphases suggested by historians, sociologists, and literary critics but emphasises their shared concern with understanding the complex agency of consumption as it is can be found specifically in cultural representations. The essay also notes the persistence of the theoretical divide between these historical studies, which identify consumption as a site of ambivalent possibility and even resistance, and contemporary accounts that regard it as a site of commodification and expropriation of the self.
{"title":"Consuming Consumption","authors":"Nicky Marsh","doi":"10.1093/alh/ajae077","DOIUrl":"https://doi.org/10.1093/alh/ajae077","url":null,"abstract":"This essay reviews four recent works examining the cultural politics of consumption. It explores the methodological and theoretical distinctions and commonalities between three works which share an historical focus. It notes the different emphases suggested by historians, sociologists, and literary critics but emphasises their shared concern with understanding the complex agency of consumption as it is can be found specifically in cultural representations. The essay also notes the persistence of the theoretical divide between these historical studies, which identify consumption as a site of ambivalent possibility and even resistance, and contemporary accounts that regard it as a site of commodification and expropriation of the self.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142198879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Losing the West, Finding Western Worlds” explores how recent critical work in Western American studies breaks apart the region’s foundational myths and invites readers and reviewers to revise understandings of this popular, enduring, and protean genre. Reflecting on four studies that interrogate Western American fiction, film, and comic books (two monographs by British scholars Mark Asquith and Neil Campbell; a study of the Black Western by film historian Mia Mask; and a collection of essays edited by Christopher Conway and Antoinette Sol on varieties of comic book westerns produced around the world), the essay considers how this diverse cohort of scholars pursues a common imperative to unlearn “the West” and sets new directions for literary and cultural studies of the region. Through rereadings of the work of writers and actors who fracture and reassemble the heroic settler narrative from the perspective of outsiders, these critics contend, the West can emerge as a place whose stories offer more complete understandings of the past, whose heroes illuminate the political challenges of the present, and whose writers provide the right words for imagining a better future.
{"title":"Losing the West, Finding Western Worlds","authors":"Audrey Goodman","doi":"10.1093/alh/ajae075","DOIUrl":"https://doi.org/10.1093/alh/ajae075","url":null,"abstract":"“Losing the West, Finding Western Worlds” explores how recent critical work in Western American studies breaks apart the region’s foundational myths and invites readers and reviewers to revise understandings of this popular, enduring, and protean genre. Reflecting on four studies that interrogate Western American fiction, film, and comic books (two monographs by British scholars Mark Asquith and Neil Campbell; a study of the Black Western by film historian Mia Mask; and a collection of essays edited by Christopher Conway and Antoinette Sol on varieties of comic book westerns produced around the world), the essay considers how this diverse cohort of scholars pursues a common imperative to unlearn “the West” and sets new directions for literary and cultural studies of the region. Through rereadings of the work of writers and actors who fracture and reassemble the heroic settler narrative from the perspective of outsiders, these critics contend, the West can emerge as a place whose stories offer more complete understandings of the past, whose heroes illuminate the political challenges of the present, and whose writers provide the right words for imagining a better future.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142225624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay intercedes in our understanding of the temporal formations that characterized New England’s Great Awakening (1730s-1740s). It takes as its case study the Connecticut farmer Nathan Cole, whose spiritual new birth scholarship has been seen as prototypical of both the instantaneity and the affect of evangelical conversion. This essay contests the predominance of these figurations of the awakenings. Offering literary criticism’s first full engagement with Cole’s archive, rather than keeping to well-known short extracts from his “Spiritual Travels,” it posits the interval as the temporal and literary form that structures Cole’s writing. The essay thus reads Cole’s narrative as something more than a lay account that testifies to evangelical feeling, arguing that his writing instead exhibits continuities with seventeenth-century habits of thought. Particularly, it traces how Cole’s writing carries into the eighteenth century Puritan labors to apprehend doctrines (such as predestination) that were, fundamentally, matters of time. In treating Cole’s text as a document of theological heft and temporal consciousness, as well as spiritual encounter, this essay also asks scholars to consider how turning toward cognitive aspects of devotion provokes our field’s understanding of genre, time, and evangelical experience.
{"title":"Evangelical Time, Separatism, and the “Spiritual Travels of Nathan Cole”","authors":"Rachel Trocchio","doi":"10.1093/alh/ajae078","DOIUrl":"https://doi.org/10.1093/alh/ajae078","url":null,"abstract":"This essay intercedes in our understanding of the temporal formations that characterized New England’s Great Awakening (1730s-1740s). It takes as its case study the Connecticut farmer Nathan Cole, whose spiritual new birth scholarship has been seen as prototypical of both the instantaneity and the affect of evangelical conversion. This essay contests the predominance of these figurations of the awakenings. Offering literary criticism’s first full engagement with Cole’s archive, rather than keeping to well-known short extracts from his “Spiritual Travels,” it posits the interval as the temporal and literary form that structures Cole’s writing. The essay thus reads Cole’s narrative as something more than a lay account that testifies to evangelical feeling, arguing that his writing instead exhibits continuities with seventeenth-century habits of thought. Particularly, it traces how Cole’s writing carries into the eighteenth century Puritan labors to apprehend doctrines (such as predestination) that were, fundamentally, matters of time. In treating Cole’s text as a document of theological heft and temporal consciousness, as well as spiritual encounter, this essay also asks scholars to consider how turning toward cognitive aspects of devotion provokes our field’s understanding of genre, time, and evangelical experience.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142225617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reviews three recent books grappling with the history and meaning of US constitutional democracy, written in a time when an originalist, conservative Supreme Court serves as the Constitution’s final arbiter. Democracies in America: Keywords for the Nineteenth Century and Today, edited by D. Berton Emerson and Gregory Laski, and The Nation That Never Was: Reconstructing America’s Story, by Kermit Roosevelt III, strive to appropriate originalist methods toward progressive ends. By contrast, Cass R. Sunstein’s How to Interpret the Constitution evinces a pragmatic skepticism of any such historically bound modes of interpretation. The tension between these approaches, I suggest, has shaped US constitutional discourse since the nineteenth century.
这篇文章回顾了最近出版的三本书，它们探讨了美国宪政民主的历史和意义，这三本书写于一个原教旨主义、保守的最高法院充当宪法最终仲裁者的时代。美国的民主：D. Berton Emerson 和 Gregory Laski 编辑的《美国的民主：十九世纪和今天的关键词》和《从未有过的国家》：克米特-罗斯福三世（Kermit Roosevelt III）所著的《从未有过的国家：重构美国的故事》（The Nation That Never Was: Reconstructing America's Story）一书努力将原典主义方法用于进步目的。相比之下，卡斯-R-孙斯坦（Cass R. Sunstein）的《如何解释宪法》（How to Interpret the Constitution）则对任何此类受历史约束的解释模式持务实的怀疑态度。我认为，自 19 世纪以来，这些方法之间的紧张关系一直影响着美国的宪法论述。
{"title":"What’s Past is Prologue: Democracy in the Age of Originalism","authors":"Geoffrey R Kirsch","doi":"10.1093/alh/ajae071","DOIUrl":"https://doi.org/10.1093/alh/ajae071","url":null,"abstract":"This essay reviews three recent books grappling with the history and meaning of US constitutional democracy, written in a time when an originalist, conservative Supreme Court serves as the Constitution’s final arbiter. Democracies in America: Keywords for the Nineteenth Century and Today, edited by D. Berton Emerson and Gregory Laski, and The Nation That Never Was: Reconstructing America’s Story, by Kermit Roosevelt III, strive to appropriate originalist methods toward progressive ends. By contrast, Cass R. Sunstein’s How to Interpret the Constitution evinces a pragmatic skepticism of any such historically bound modes of interpretation. The tension between these approaches, I suggest, has shaped US constitutional discourse since the nineteenth century.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142198881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This review article assesses three new books on the “Golden Age” of caricature in Britain and the United States: Tim Clayton’s James Gillray: A Revolution in Satire (2022), Amanda Lahikainen’s Money and Materiality in the Golden Age of Graphic Satire (2022), and Alison M. Stagg’s Prints of a New Kind: Political Caricature in the United States, 1789-1828 (2023). The article considers how satirical cartoons simultaneously educated and entertained the public about important issues, such as political corruption, nation building, and the perils of a credit economy based on paper money.
这篇评论文章评估了三本关于英国和美国漫画 "黄金时代 "的新书：蒂姆-克莱顿（Tim Clayton）的《詹姆斯-吉尔雷》（James Gillray：A Revolution in Satire》（2022 年）、Amanda Lahikainen 的《Money and Materiality in the Golden Age of Graphic Satire》（2022 年）和 Alison M. Stagg 的《Prints of a New Kind：美国的政治漫画，1789-1828 年》（2023 年）。文章探讨了讽刺漫画如何同时就政治腐败、国家建设和以纸币为基础的信用经济的危害等重要问题对公众进行教育和娱乐。
{"title":"The Power of Caricature, Caricatures of Power","authors":"Ian Haywood","doi":"10.1093/alh/ajae073","DOIUrl":"https://doi.org/10.1093/alh/ajae073","url":null,"abstract":"This review article assesses three new books on the “Golden Age” of caricature in Britain and the United States: Tim Clayton’s James Gillray: A Revolution in Satire (2022), Amanda Lahikainen’s Money and Materiality in the Golden Age of Graphic Satire (2022), and Alison M. Stagg’s Prints of a New Kind: Political Caricature in the United States, 1789-1828 (2023). The article considers how satirical cartoons simultaneously educated and entertained the public about important issues, such as political corruption, nation building, and the perils of a credit economy based on paper money.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142225616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay responds to Geoffrey Kirsch’s review essay “What’s Past is Prologue: Democracy in the Age of Originalism” by evaluating how the three texts Kirsch reviews—Kermit Roosevelt, III’s The Nation That Never Was: Reconstructing America’s Story (2022), Cass R. Sunstein’s How to Interpret the Constitution (2023), and D. Berton Emerson and Gregory Laski’s edited collection Democracies in America: Keywords for the Nineteenth Century and Today (2023)—engage with progressive originalism. Drawing inspiration from civil rights activists including Frederick Douglass, progressive originalists seek to recast an ostensibly conservative method of constitutional interpretation grounded in what the “founding fathers” or a historical public thought or intended. Roosevelt’s and Sunstein’s books reveal the potential and limits of both progressive originalism and insular disciplinary conversations about constitutional interpretation. Contrastingly, the multidisciplinary Democracies in America has a more expansive conception of whose voices should matter when interpreting the Constitution through a progressive originalist lens. A comparative analysis of the three books also demonstrates the value of literature and literary historians in an age characterized by the ascendancy of historical approaches to constitutional interpretation and a revival of the “canon wars.”
本文对 Geoffrey Kirsch 的评论文章 "What's Past is Prologue：通过评估 Kirsch 评论的三本著作--Kermit Roosevelt, III 的《从未有过的国家》（The Nation That Never Was：重构美国的故事》（2022 年）、Cass R. Sunstein 的《如何解释宪法》（2023 年）以及 D. Berton Emerson 和 Gregory Laski 编辑的文集《美国的民主》：十九世纪和今天的关键词》（2023 年）--与进步的原创主义进行了互动。进步原创论者从弗雷德里克-道格拉斯（Frederick Douglass）等民权活动家那里汲取灵感，试图以 "开国元勋 "或历史公众的想法或意图为基础，重塑一种表面上保守的宪法解释方法。罗斯福和孙斯坦的著作揭示了进步原创主义和关于宪法解释的孤立学科对话的潜力和局限性。与此形成鲜明对比的是，多学科的《美国的民主》一书对通过进步原创主义视角解释宪法时谁的声音更重要有了更广阔的概念。对这三本书的比较分析还表明了文学和文学史学者在以历史方法解释宪法和 "法典战争 "复兴为特点的时代的价值。
{"title":"Progressive Originalism and the New Canon Wars","authors":"Almas Khan","doi":"10.1093/alh/ajae074","DOIUrl":"https://doi.org/10.1093/alh/ajae074","url":null,"abstract":"This essay responds to Geoffrey Kirsch’s review essay “What’s Past is Prologue: Democracy in the Age of Originalism” by evaluating how the three texts Kirsch reviews—Kermit Roosevelt, III’s The Nation That Never Was: Reconstructing America’s Story (2022), Cass R. Sunstein’s How to Interpret the Constitution (2023), and D. Berton Emerson and Gregory Laski’s edited collection Democracies in America: Keywords for the Nineteenth Century and Today (2023)—engage with progressive originalism. Drawing inspiration from civil rights activists including Frederick Douglass, progressive originalists seek to recast an ostensibly conservative method of constitutional interpretation grounded in what the “founding fathers” or a historical public thought or intended. Roosevelt’s and Sunstein’s books reveal the potential and limits of both progressive originalism and insular disciplinary conversations about constitutional interpretation. Contrastingly, the multidisciplinary Democracies in America has a more expansive conception of whose voices should matter when interpreting the Constitution through a progressive originalist lens. A comparative analysis of the three books also demonstrates the value of literature and literary historians in an age characterized by the ascendancy of historical approaches to constitutional interpretation and a revival of the “canon wars.”","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142225618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The marketing claims of the Library of America (LOA) reveal that this institution functions within the tradition of such middlebrow publishing ventures as The Harvard Classics and the Modern Library. All such ventures assure consumers that cultural cache can be theirs through brand loyalty. LOA’s brand identity, however, is fraught with contradictions. While claiming to continue the legacy of highbrow literary critic Edmund Wilson, LOA increasingly publishes volumes devoted to pulp genres that would have been anathema to Wilson. While English departments have been questioning notions of the canon throughout LOA’s history, the publisher, founded in 1980, insists that its books define the canon of US literature. The professoriate, however, has largely ignored LOA’s claims regarding great literature because the publisher also claims to uphold the standards of great scholarship. These brand contradictions serve as a context for assessing a recent addition to LOA’s core collection, William Faulkner: Stories, edited by Theresa M. Towner. I contrast Towner’s editorial methods with those of Joseph Blotner and Noel Polk, who edited LOA’s five volumes of Faulkner’s novels between 1985 and 2003, in order to address what we mean when we say a text is authoritative and corrected.
{"title":"The Fruits of the LOA","authors":"John N Duvall","doi":"10.1093/alh/ajae076","DOIUrl":"https://doi.org/10.1093/alh/ajae076","url":null,"abstract":"The marketing claims of the Library of America (LOA) reveal that this institution functions within the tradition of such middlebrow publishing ventures as The Harvard Classics and the Modern Library. All such ventures assure consumers that cultural cache can be theirs through brand loyalty. LOA’s brand identity, however, is fraught with contradictions. While claiming to continue the legacy of highbrow literary critic Edmund Wilson, LOA increasingly publishes volumes devoted to pulp genres that would have been anathema to Wilson. While English departments have been questioning notions of the canon throughout LOA’s history, the publisher, founded in 1980, insists that its books define the canon of US literature. The professoriate, however, has largely ignored LOA’s claims regarding great literature because the publisher also claims to uphold the standards of great scholarship. These brand contradictions serve as a context for assessing a recent addition to LOA’s core collection, William Faulkner: Stories, edited by Theresa M. Towner. I contrast Towner’s editorial methods with those of Joseph Blotner and Noel Polk, who edited LOA’s five volumes of Faulkner’s novels between 1985 and 2003, in order to address what we mean when we say a text is authoritative and corrected.","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142198880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aaron Sachs, Up From the Depths: Herman Melville, Lewis Mumford, and Rediscovery in Dark Times","authors":"Cody Marrs","doi":"10.1093/alh/ajae023","DOIUrl":"https://doi.org/10.1093/alh/ajae023","url":null,"abstract":"","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141035728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Haitian Revolutionary Fictions: An Anthology, edited by Marlene L. Daut, Grégory Pierrot, and Marion C. Rohrleitner","authors":"Philip Kaisary","doi":"10.1093/alh/ajae020","DOIUrl":"https://doi.org/10.1093/alh/ajae020","url":null,"abstract":"","PeriodicalId":45821,"journal":{"name":"AMERICAN LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141026840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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