Pub Date : 2023-09-19DOI: 10.1177/09639470231202262
Roi Tartakovsky, Yeshayahu Shen
Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection between the order of the zeugma’s items and its effect. It differentiates between the positions or slots for the items within the zeugma, and the actual items which occupy these slots. It posits an asymmetry between the first and second slots such that the second is the site of more attention and is presumed to carry more important or surprising information. Structurally, then, the zeugma entails a weak-to-strong trajectory. Separately, it also posits an asymmetry between the two items themselves, which tend to divide into a weaker (neutral) one and one that is emotionally richer or ‘strong.’ The effect of the zeugma is then linked to the relationship between the strength of the slot and the strength of the item. In the typical case, a strong item is placed in the strong slot, which produces an effect of emotional elevation. In other cases, a weak item is placed in the strong slot, which tends to produce irony. We analyze several zeugmas according to these principles, with an emphasis on examples drawn from English-language poetry.
{"title":"‘Uncle Al is old, has brown eyes and dementia’: The importance of order in zeugmas","authors":"Roi Tartakovsky, Yeshayahu Shen","doi":"10.1177/09639470231202262","DOIUrl":"https://doi.org/10.1177/09639470231202262","url":null,"abstract":"Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection between the order of the zeugma’s items and its effect. It differentiates between the positions or slots for the items within the zeugma, and the actual items which occupy these slots. It posits an asymmetry between the first and second slots such that the second is the site of more attention and is presumed to carry more important or surprising information. Structurally, then, the zeugma entails a weak-to-strong trajectory. Separately, it also posits an asymmetry between the two items themselves, which tend to divide into a weaker (neutral) one and one that is emotionally richer or ‘strong.’ The effect of the zeugma is then linked to the relationship between the strength of the slot and the strength of the item. In the typical case, a strong item is placed in the strong slot, which produces an effect of emotional elevation. In other cases, a weak item is placed in the strong slot, which tends to produce irony. We analyze several zeugmas according to these principles, with an emphasis on examples drawn from English-language poetry.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135060928","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 : 2023-09-15DOI: 10.1177/09639470231202264
Yi Fan
In recent years, Text World Theory has been extended and elaborated to explain readers’ understanding of discoursal phenomena where toggling between separate text-worlds is sustained at length, such as extended metaphor and allegory. Similarly, experiencing adaptation, that is, reading a rewrite of a source text, may also involve readers deriving cognitive effects from shifting attention between two ontologically separate sets of worlds throughout a discourse. However, Text World Theory has not been previously applied to the study of this area. This paper deploys Text World Theory to examine the stylistic manipulation of text-worlds in A Thousand Acres by Jane Smiley and Dunbar by Edward St. Aubyn, novels that are both modern rewrites of Shakespeare’s King Lear. It aims to contribute on the one hand to Text World Theory by enriching and elaborating a Text World basis for explaining adaptation, and on the other to adaptation studies by demonstrating the utility of a cognitive stylistic approach for analyzing literary adaptation. Specifically, it investigates how the construction of intertextually-relevant text-world patterns serves to draw the reader’s attention to assign significance to certain narrative moments, and to allow the reader to access an additional layer of meaning. This study sheds some light on the possible contribution of special types of contextual information to the negotiation of text-worlds.
{"title":"Tracing palimpsestic text-worlds of key moments in rewrites of <i>King Lear</i> - <i>A Thousand Acres</i> and <i>Dunbar</i>","authors":"Yi Fan","doi":"10.1177/09639470231202264","DOIUrl":"https://doi.org/10.1177/09639470231202264","url":null,"abstract":"In recent years, Text World Theory has been extended and elaborated to explain readers’ understanding of discoursal phenomena where toggling between separate text-worlds is sustained at length, such as extended metaphor and allegory. Similarly, experiencing adaptation, that is, reading a rewrite of a source text, may also involve readers deriving cognitive effects from shifting attention between two ontologically separate sets of worlds throughout a discourse. However, Text World Theory has not been previously applied to the study of this area. This paper deploys Text World Theory to examine the stylistic manipulation of text-worlds in A Thousand Acres by Jane Smiley and Dunbar by Edward St. Aubyn, novels that are both modern rewrites of Shakespeare’s King Lear. It aims to contribute on the one hand to Text World Theory by enriching and elaborating a Text World basis for explaining adaptation, and on the other to adaptation studies by demonstrating the utility of a cognitive stylistic approach for analyzing literary adaptation. Specifically, it investigates how the construction of intertextually-relevant text-world patterns serves to draw the reader’s attention to assign significance to certain narrative moments, and to allow the reader to access an additional layer of meaning. This study sheds some light on the possible contribution of special types of contextual information to the negotiation of text-worlds.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135393840","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 : 2023-05-29DOI: 10.1177/09639470231177583
Nikolas Gunn
In this article, I apply Stockwell’s framework of attentional phenomena in language to Old English literature. I outline the special attentional features that we find in Old English poetry, encompassing alliteration, poetic vocabulary and apposition. I then move on to provide an analysis of the figure of Grendel through an attentional lens, arguing that the Beowulf-poet consistently pulls our attention towards his demonic or monstrous aspects rather than his residual humanity. In my discussion, I argue that alliterative patterning and its intersection with lexical content is central to how the poet filters our perception of Grendel. I then move on to examine how the poet uses stock poetic lexis to define him, drawing on the Cognitive Grammar concept of reference points, suggesting that the various synonyms for ‘man’ or ‘warrior’ applied to Grendel are consistently decentred from his overall description. Finally, drawing on Nuttall, I conclude with some observations on how the narrator controls our perception of Grendel’s mind.
{"title":"The poetics of attention in Old English verse: A cognitive stylistic approach to the depiction of Grendel in Beowulf","authors":"Nikolas Gunn","doi":"10.1177/09639470231177583","DOIUrl":"https://doi.org/10.1177/09639470231177583","url":null,"abstract":"In this article, I apply Stockwell’s framework of attentional phenomena in language to Old English literature. I outline the special attentional features that we find in Old English poetry, encompassing alliteration, poetic vocabulary and apposition. I then move on to provide an analysis of the figure of Grendel through an attentional lens, arguing that the Beowulf-poet consistently pulls our attention towards his demonic or monstrous aspects rather than his residual humanity. In my discussion, I argue that alliterative patterning and its intersection with lexical content is central to how the poet filters our perception of Grendel. I then move on to examine how the poet uses stock poetic lexis to define him, drawing on the Cognitive Grammar concept of reference points, suggesting that the various synonyms for ‘man’ or ‘warrior’ applied to Grendel are consistently decentred from his overall description. Finally, drawing on Nuttall, I conclude with some observations on how the narrator controls our perception of Grendel’s mind.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41976892","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 : 2023-05-25DOI: 10.1177/09639470231160579
Richard Ingham, Michael Ingham
This paper builds on findings on variation in Elizabethan grammar, analysing the syntax of negation in a large number of Shakespearean stage dramas and those of his contemporaries. It shows that Shakespeare differed substantially from them grammatically and stylistically. His contemporaries most often adhered to the emerging standard pattern of avoiding Subject-Verb syntax and multiple negation, whereas Shakespeare made much greater use of it, especially in coordinate contexts. In other contexts, use of multiple negation by other authors was usually for characterological purposes, whereas in Shakespeare it is employed as a stylistic resource regardless of the character’s social standing. These findings are interpreted against the background of sociolinguistic research on diachronic English syntax, showing that higher-status individuals led the change away from multiple negation. The differing outcomes are related to Shakespeare’s provincial background and non-participation in a university milieu, distinguishing him from the ‘golden triangle’ background of his contemporary dramatists.
{"title":"‘Native woodnotes wild’: Shakespeare, his contemporaries, and the syntax of negation","authors":"Richard Ingham, Michael Ingham","doi":"10.1177/09639470231160579","DOIUrl":"https://doi.org/10.1177/09639470231160579","url":null,"abstract":"This paper builds on findings on variation in Elizabethan grammar, analysing the syntax of negation in a large number of Shakespearean stage dramas and those of his contemporaries. It shows that Shakespeare differed substantially from them grammatically and stylistically. His contemporaries most often adhered to the emerging standard pattern of avoiding Subject-Verb syntax and multiple negation, whereas Shakespeare made much greater use of it, especially in coordinate contexts. In other contexts, use of multiple negation by other authors was usually for characterological purposes, whereas in Shakespeare it is employed as a stylistic resource regardless of the character’s social standing. These findings are interpreted against the background of sociolinguistic research on diachronic English syntax, showing that higher-status individuals led the change away from multiple negation. The differing outcomes are related to Shakespeare’s provincial background and non-participation in a university milieu, distinguishing him from the ‘golden triangle’ background of his contemporary dramatists.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45456426","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 : 2023-02-23DOI: 10.1177/09639470231158694
C. Ononye, Innocent Chiluwa
Studies on Niger Delta (ND) poetry have applied stylistic and discourse analyses in exploring the metaphorical elements of the deplorable ecological condition of the region, but how these elements have been used in creating an alternative positive image of the ecology, especially in Otobotekere’s poetry, has not attracted enough scholarly attention. This study examines metaphors in selected poems from Otobotekere’s My River. The poems were subjected to critical analysis, with insight from conceptual metaphor theory, phenomenonalistic construal, and aspects of ideology discourse. Three conceptual metaphors were observed with their respective phenomenalistic interpretations: the Niger River is a parent (sourced from the construal of ancestry, seasons and source), Niger River flow is entertainment (from the construal of theatrical display, music making and journey) and contacting Niger River is therapy (from the construal of relaxation and care giving). The mappings are associated with three natural traits imaginarily projected by the river, namely, identity, recreation, and comfort. Identity relates to the parental posture of the river, recreation deals with enjoyable nature of it, while comfort has to do with the care derived from coming in contact with the river. Through these metaphorical descriptions, Otobotekere is able to inscribe the ND ecology with an admirable landscape, which seems like an attempt by a former oil worker at greenwashing or changing the predominant ideological outlook of the environment. Thus, conceptual metaphors in Otobotekere’s poetry, with their phenomenalistic interpretation, demonstrate that there is still something positive about the ND ecology.
{"title":"“There’s still something positive about the Niger Delta ecology”: Metaphor and ideology in the Niger Delta poetic discourse","authors":"C. Ononye, Innocent Chiluwa","doi":"10.1177/09639470231158694","DOIUrl":"https://doi.org/10.1177/09639470231158694","url":null,"abstract":"Studies on Niger Delta (ND) poetry have applied stylistic and discourse analyses in exploring the metaphorical elements of the deplorable ecological condition of the region, but how these elements have been used in creating an alternative positive image of the ecology, especially in Otobotekere’s poetry, has not attracted enough scholarly attention. This study examines metaphors in selected poems from Otobotekere’s My River. The poems were subjected to critical analysis, with insight from conceptual metaphor theory, phenomenonalistic construal, and aspects of ideology discourse. Three conceptual metaphors were observed with their respective phenomenalistic interpretations: the Niger River is a parent (sourced from the construal of ancestry, seasons and source), Niger River flow is entertainment (from the construal of theatrical display, music making and journey) and contacting Niger River is therapy (from the construal of relaxation and care giving). The mappings are associated with three natural traits imaginarily projected by the river, namely, identity, recreation, and comfort. Identity relates to the parental posture of the river, recreation deals with enjoyable nature of it, while comfort has to do with the care derived from coming in contact with the river. Through these metaphorical descriptions, Otobotekere is able to inscribe the ND ecology with an admirable landscape, which seems like an attempt by a former oil worker at greenwashing or changing the predominant ideological outlook of the environment. Thus, conceptual metaphors in Otobotekere’s poetry, with their phenomenalistic interpretation, demonstrate that there is still something positive about the ND ecology.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46641579","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 : 2023-02-23DOI: 10.1177/09639470231158695
Mel Evans
This paper examines the manifestation of individual style through the lens of a specific language category: the interjection. The analysis considers how interjections are used as a resource in the dramatic dialogue of three Restoration playwrights: Aphra Behn, John Dryden and Thomas D’Urfey, and how their preferences and practices of use compare to previously identified trends in the history of English. Using the concept of the repertoire as a frame for situated language use, the paper examines how genre, time, and characterisation shape the selection and frequency of interjections in the plays of each author. Corpus linguistic methods are used to provide a quantitative and qualitative overview of each author’s interjection repertoire. The results suggest that whilst genre, time, and characterisation are influential in shaping the selection and implementation of interjection forms, the choice of expressive language in dramatic contexts is also distinctive and coherent at an authorial level.
{"title":"Interjections and individual style: A study of restoration dramatic language","authors":"Mel Evans","doi":"10.1177/09639470231158695","DOIUrl":"https://doi.org/10.1177/09639470231158695","url":null,"abstract":"This paper examines the manifestation of individual style through the lens of a specific language category: the interjection. The analysis considers how interjections are used as a resource in the dramatic dialogue of three Restoration playwrights: Aphra Behn, John Dryden and Thomas D’Urfey, and how their preferences and practices of use compare to previously identified trends in the history of English. Using the concept of the repertoire as a frame for situated language use, the paper examines how genre, time, and characterisation shape the selection and frequency of interjections in the plays of each author. Corpus linguistic methods are used to provide a quantitative and qualitative overview of each author’s interjection repertoire. The results suggest that whilst genre, time, and characterisation are influential in shaping the selection and implementation of interjection forms, the choice of expressive language in dramatic contexts is also distinctive and coherent at an authorial level.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44699648","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 : 2023-02-18DOI: 10.1177/09639470231158696
Fan Yang
This article investigates power dynamics reflected in the conversations between characters in Arthur Miller’s written text, A View from the Bridge, from the perspective of pragmatic stylistics. Given that techniques from conversation analysis have proven feasible and effective in the analysis of dramatic dialogue, this article analyses and interprets the development of power relations in the Carbone family by means of turn-taking patterns. In general, this article argues that Eddie’s authority is consecutively undermined in front of Catherine, while his control over Beatrice is gradually reinforced. Moreover, Beatrice’s manipulation of Catherine is continuously challenged. Based on the above results, this article demonstrates that the changing power relations are a fundamental cause of family conflicts and the final tragedy. Therefore, this article shows that turn-taking analysis is a new way of explaining how we understand dynamic power relations between characters in this dramatic text.
{"title":"Dynamic power relations between characters in A View from the Bridge: A pragmastylistic approach","authors":"Fan Yang","doi":"10.1177/09639470231158696","DOIUrl":"https://doi.org/10.1177/09639470231158696","url":null,"abstract":"This article investigates power dynamics reflected in the conversations between characters in Arthur Miller’s written text, A View from the Bridge, from the perspective of pragmatic stylistics. Given that techniques from conversation analysis have proven feasible and effective in the analysis of dramatic dialogue, this article analyses and interprets the development of power relations in the Carbone family by means of turn-taking patterns. In general, this article argues that Eddie’s authority is consecutively undermined in front of Catherine, while his control over Beatrice is gradually reinforced. Moreover, Beatrice’s manipulation of Catherine is continuously challenged. Based on the above results, this article demonstrates that the changing power relations are a fundamental cause of family conflicts and the final tragedy. Therefore, this article shows that turn-taking analysis is a new way of explaining how we understand dynamic power relations between characters in this dramatic text.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43417430","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 : 2023-02-15DOI: 10.1177/09639470231152290
Zhongqiang Wang
{"title":"Book Reviews: Chinese narratologies","authors":"Zhongqiang Wang","doi":"10.1177/09639470231152290","DOIUrl":"https://doi.org/10.1177/09639470231152290","url":null,"abstract":"","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45497553","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 : 2023-02-07DOI: 10.1177/09639470231152291
Shaoqiang Zhang
From the beginning of her book, Intralingual Translation of British Novels. A Multimodal Stylistic Perspective, Linda Pillière catches the attention of her readers. The opening scene is set in a bookshop where you stand with different editions of the same book in your hands and, as you ponder, the revelation occurs: Is this a copy, an adaptation, a new edition? A translation, perhaps? What happened in the editorial process when adapting this book for a geographically different audience? From the differences at the paratextual level (cover, illustrations, typeface, footnotes) to the stylistic choices (lexis, tense, syntax and punctuation), Pillière reminds us that the changes in a text are not irrelevant. Ultimately, there seems to be a reason behind everything in the editorial market, for “[i]f they did not influence the potential buyer, major publishing houses would not spend time and money on reformatting texts. The world of publishing is, let us not forget, first and foremost a commercial enterprise” (24), writes Pillière.
{"title":"Book Review: Intralingual translation of british novels: A multimodal stylistic perspective","authors":"Shaoqiang Zhang","doi":"10.1177/09639470231152291","DOIUrl":"https://doi.org/10.1177/09639470231152291","url":null,"abstract":"From the beginning of her book, Intralingual Translation of British Novels. A Multimodal Stylistic Perspective, Linda Pillière catches the attention of her readers. The opening scene is set in a bookshop where you stand with different editions of the same book in your hands and, as you ponder, the revelation occurs: Is this a copy, an adaptation, a new edition? A translation, perhaps? What happened in the editorial process when adapting this book for a geographically different audience? From the differences at the paratextual level (cover, illustrations, typeface, footnotes) to the stylistic choices (lexis, tense, syntax and punctuation), Pillière reminds us that the changes in a text are not irrelevant. Ultimately, there seems to be a reason behind everything in the editorial market, for “[i]f they did not influence the potential buyer, major publishing houses would not spend time and money on reformatting texts. The world of publishing is, let us not forget, first and foremost a commercial enterprise” (24), writes Pillière.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44778362","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 : 2023-02-06DOI: 10.1177/09639470231152293
Cassandra S. Tully
{"title":"Book Reviews: Estilística de corpus: Nuevos enfoques en el análisis de textos literarios","authors":"Cassandra S. Tully","doi":"10.1177/09639470231152293","DOIUrl":"https://doi.org/10.1177/09639470231152293","url":null,"abstract":"","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44984790","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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