Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from the coast, slowed down with the thick understory of temperate rainforest and burnt through the lower dry sclerophyll forest on Plumwood Mountain. The aftermath of the bare, burnt landscape meant a significant change in the structure and diversity of vegetation, while the consequences of the fire also brought about fundamental changes to Plumwood as a conservation and heritage organisation. Plumwood Mountain as a place, the individual plumwood tree as an agentive being, Val Plumwood as a person and Plumwood as an organisation are all an entangled form of natureculture and indicative of a practice-based conservation humanities approach. Conservation as part of the environmental humanities can offer an alternative to mainstream models of conservation with the potential to instigate active participation on the ground, engaging in a different form of stewardship.
{"title":"Entangled Plumwoods: Stewardship as Grassroots Conservation Humanities","authors":"Natasha Fijn","doi":"10.3390/h13010037","DOIUrl":"https://doi.org/10.3390/h13010037","url":null,"abstract":"Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from the coast, slowed down with the thick understory of temperate rainforest and burnt through the lower dry sclerophyll forest on Plumwood Mountain. The aftermath of the bare, burnt landscape meant a significant change in the structure and diversity of vegetation, while the consequences of the fire also brought about fundamental changes to Plumwood as a conservation and heritage organisation. Plumwood Mountain as a place, the individual plumwood tree as an agentive being, Val Plumwood as a person and Plumwood as an organisation are all an entangled form of natureculture and indicative of a practice-based conservation humanities approach. Conservation as part of the environmental humanities can offer an alternative to mainstream models of conservation with the potential to instigate active participation on the ground, engaging in a different form of stewardship.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"25 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139852593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The year 2021 witnessed the publication of the latest volume of Refugee Tales, which chronologically coincided with the seventieth anniversary of the adoption of the 1951 Refugee Convention by the UK and other countries. This collection is the fourth volume of the Refugee Tales Project, which began in 2015 with a yearly meeting to walk and share stories by victims of detention, with the main goal of abolishing indefinite detention in the UK. The Refugee Tales Project, which exposes the humanitarian crisis involved in displacement, refugeehood, and detention, is primarily a spatial project that is concerned with borders and boundary crossings. The centrality of space can be seen reflected in the stories collected in Refugee Tales IV, which also reveal a sustained interest in the dimension of time. In this context, the present study addresses borders and border-crossing in the literary voicing of migrants’ experience as these migrants interact with spatial and temporal planes, with the aim of exploring such an interaction in a selection of narratives from Refugee Tales IV. This analysis examines the selected tales from the perspectives of the treatment of space, time, and the disoriented perception of both, considering how the articulation of these parameters contributes to the exposure of the injustices in detention and refugeehood.
{"title":"Border-Crossing Experience in Refugee Tales IV","authors":"Carmen Lara-Rallo","doi":"10.3390/h13010036","DOIUrl":"https://doi.org/10.3390/h13010036","url":null,"abstract":"The year 2021 witnessed the publication of the latest volume of Refugee Tales, which chronologically coincided with the seventieth anniversary of the adoption of the 1951 Refugee Convention by the UK and other countries. This collection is the fourth volume of the Refugee Tales Project, which began in 2015 with a yearly meeting to walk and share stories by victims of detention, with the main goal of abolishing indefinite detention in the UK. The Refugee Tales Project, which exposes the humanitarian crisis involved in displacement, refugeehood, and detention, is primarily a spatial project that is concerned with borders and boundary crossings. The centrality of space can be seen reflected in the stories collected in Refugee Tales IV, which also reveal a sustained interest in the dimension of time. In this context, the present study addresses borders and border-crossing in the literary voicing of migrants’ experience as these migrants interact with spatial and temporal planes, with the aim of exploring such an interaction in a selection of narratives from Refugee Tales IV. This analysis examines the selected tales from the perspectives of the treatment of space, time, and the disoriented perception of both, considering how the articulation of these parameters contributes to the exposure of the injustices in detention and refugeehood.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":" 48","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139792507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from the coast, slowed down with the thick understory of temperate rainforest and burnt through the lower dry sclerophyll forest on Plumwood Mountain. The aftermath of the bare, burnt landscape meant a significant change in the structure and diversity of vegetation, while the consequences of the fire also brought about fundamental changes to Plumwood as a conservation and heritage organisation. Plumwood Mountain as a place, the individual plumwood tree as an agentive being, Val Plumwood as a person and Plumwood as an organisation are all an entangled form of natureculture and indicative of a practice-based conservation humanities approach. Conservation as part of the environmental humanities can offer an alternative to mainstream models of conservation with the potential to instigate active participation on the ground, engaging in a different form of stewardship.
{"title":"Entangled Plumwoods: Stewardship as Grassroots Conservation Humanities","authors":"Natasha Fijn","doi":"10.3390/h13010037","DOIUrl":"https://doi.org/10.3390/h13010037","url":null,"abstract":"Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from the coast, slowed down with the thick understory of temperate rainforest and burnt through the lower dry sclerophyll forest on Plumwood Mountain. The aftermath of the bare, burnt landscape meant a significant change in the structure and diversity of vegetation, while the consequences of the fire also brought about fundamental changes to Plumwood as a conservation and heritage organisation. Plumwood Mountain as a place, the individual plumwood tree as an agentive being, Val Plumwood as a person and Plumwood as an organisation are all an entangled form of natureculture and indicative of a practice-based conservation humanities approach. Conservation as part of the environmental humanities can offer an alternative to mainstream models of conservation with the potential to instigate active participation on the ground, engaging in a different form of stewardship.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":" 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139792892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth the ethical implications beyond borders that are present in opposing, yet equally significant paradigms: security and danger—depending on whose interests prevail; recognition and non-recognition—attending to the precarious conditions that potential guests are requested to endure or fulfil to be acknowledged and hosted; and rights and duties—considering borders as exclusive and independent rather than as contact zones. Following Jacques Derrida (2000) Jeffrey Clapp and Emily Ridge (2016), and Judith Butler (2009, 2015, 2016), among others, I will consider the complexities of locating home after forced displacement and the (dis)connection between belonging and identity. In both of Nayeri’s works, the direct experience of displacement becomes key to understanding the need for refuge in the recreation of a home-like experience beyond home and borders. This is particularly evident in the negotiated spaces of vulnerability and resistance that refugees inhabit.
{"title":"Seeking Refuge, Resisting beyond Borders: On Security, Recognition and Rights in Dina Nayeri’s Refuge and The Ungrateful Refugee","authors":"Maria Jennifer Estevez Yanes","doi":"10.3390/h13010035","DOIUrl":"https://doi.org/10.3390/h13010035","url":null,"abstract":"This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth the ethical implications beyond borders that are present in opposing, yet equally significant paradigms: security and danger—depending on whose interests prevail; recognition and non-recognition—attending to the precarious conditions that potential guests are requested to endure or fulfil to be acknowledged and hosted; and rights and duties—considering borders as exclusive and independent rather than as contact zones. Following Jacques Derrida (2000) Jeffrey Clapp and Emily Ridge (2016), and Judith Butler (2009, 2015, 2016), among others, I will consider the complexities of locating home after forced displacement and the (dis)connection between belonging and identity. In both of Nayeri’s works, the direct experience of displacement becomes key to understanding the need for refuge in the recreation of a home-like experience beyond home and borders. This is particularly evident in the negotiated spaces of vulnerability and resistance that refugees inhabit.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"65 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139863145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kristen Sandrock (2020) connects John Lanchester’s 2019 Brexit novel The Wall with what she refers to as ‘British border epistemologies’; that is, a radical process of re-bordering due to global warming and its impact on human mobility. The literary phenomenon that is now referred to as ‘BrexLit’ bears witness to the way in which borders and the fear to the other seem to impinge on contemporary British fiction. BrexLit is framed by an increasing global interest in exploring interdisciplinary bordering practices. Primarily, BrexLit manifests through realist and/or speculative long fiction, although there are numerous short stories and poetry that deal with this seismic political event. This article proposes to focus on different samples of speculative long fiction born from Brexit before highlighting Lanchester’s The Wall. Posthuman studies offer a convenient theoretical framework with which to approach this specific text where the British border, refugees and the fear of the other are the drivers of the plot. Thus, this contribution will explore alien configurations of refugees in contemporary British speculative fiction and the way in which these texts question Brexit rhetoric in an eye-opening and thought-provoking way, assisting readers to understand the context and consequences of such a profound political event.
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Kristen Sandrock (2020) connects John Lanchester’s 2019 Brexit novel The Wall with what she refers to as ‘British border epistemologies’; that is, a radical process of re-bordering due to global warming and its impact on human mobility. The literary phenomenon that is now referred to as ‘BrexLit’ bears witness to the way in which borders and the fear to the other seem to impinge on contemporary British fiction. BrexLit is framed by an increasing global interest in exploring interdisciplinary bordering practices. Primarily, BrexLit manifests through realist and/or speculative long fiction, although there are numerous short stories and poetry that deal with this seismic political event. This article proposes to focus on different samples of speculative long fiction born from Brexit before highlighting Lanchester’s The Wall. Posthuman studies offer a convenient theoretical framework with which to approach this specific text where the British border, refugees and the fear of the other are the drivers of the plot. Thus, this contribution will explore alien configurations of refugees in contemporary British speculative fiction and the way in which these texts question Brexit rhetoric in an eye-opening and thought-provoking way, assisting readers to understand the context and consequences of such a profound political event.
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This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth the ethical implications beyond borders that are present in opposing, yet equally significant paradigms: security and danger—depending on whose interests prevail; recognition and non-recognition—attending to the precarious conditions that potential guests are requested to endure or fulfil to be acknowledged and hosted; and rights and duties—considering borders as exclusive and independent rather than as contact zones. Following Jacques Derrida (2000) Jeffrey Clapp and Emily Ridge (2016), and Judith Butler (2009, 2015, 2016), among others, I will consider the complexities of locating home after forced displacement and the (dis)connection between belonging and identity. In both of Nayeri’s works, the direct experience of displacement becomes key to understanding the need for refuge in the recreation of a home-like experience beyond home and borders. This is particularly evident in the negotiated spaces of vulnerability and resistance that refugees inhabit.
{"title":"Seeking Refuge, Resisting beyond Borders: On Security, Recognition and Rights in Dina Nayeri’s Refuge and The Ungrateful Refugee","authors":"Maria Jennifer Estevez Yanes","doi":"10.3390/h13010035","DOIUrl":"https://doi.org/10.3390/h13010035","url":null,"abstract":"This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth the ethical implications beyond borders that are present in opposing, yet equally significant paradigms: security and danger—depending on whose interests prevail; recognition and non-recognition—attending to the precarious conditions that potential guests are requested to endure or fulfil to be acknowledged and hosted; and rights and duties—considering borders as exclusive and independent rather than as contact zones. Following Jacques Derrida (2000) Jeffrey Clapp and Emily Ridge (2016), and Judith Butler (2009, 2015, 2016), among others, I will consider the complexities of locating home after forced displacement and the (dis)connection between belonging and identity. In both of Nayeri’s works, the direct experience of displacement becomes key to understanding the need for refuge in the recreation of a home-like experience beyond home and borders. This is particularly evident in the negotiated spaces of vulnerability and resistance that refugees inhabit.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"26 46","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139803237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.
{"title":"Performing Distinction in Big Banana: Culture at the Margins of Visibility","authors":"Andrea Martinez Teruel","doi":"10.3390/h13010031","DOIUrl":"https://doi.org/10.3390/h13010031","url":null,"abstract":"Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"482 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139877850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I discuss Dante’s conception of theology and rational thinking through a reading of the cantos of the Heaven of the Sun. I address the hermeneutical challenge of understanding the meaning of the peace which Dante identifies as the main feature of divine science, and I do so by employing liturgical hermeneutics, a methodological approach characteristic of the celebration of Mass. This hermeneutical approach looks simultaneously at the constative content of a text and its performative dimension and emphasises the importance of not concealing but taking into account the unavoidable personal dimension of any hermeneutical or intellectual activity. In this way, I challenge the conclusion that the reconciliation of the Wise Spirits is merely and only a textual reality and therefore a beautiful, poetic lie, and I instead show how Dante’s poetic depiction has serious implications for our use and understanding of rational thought. His representation does not rest on the application of the principle of non-contradiction as the ultimate foundation of reality and rational thinking: in Dante’s Paradiso, this abstract principle is replaced by a living reality, and the inner life of the Trinity is shown as being the true foundation for any possible knowledge and reality.
{"title":"The Liturgy of Knowledge in the Heaven of the Sun","authors":"Carmen Costanza","doi":"10.3390/h13010030","DOIUrl":"https://doi.org/10.3390/h13010030","url":null,"abstract":"In this paper, I discuss Dante’s conception of theology and rational thinking through a reading of the cantos of the Heaven of the Sun. I address the hermeneutical challenge of understanding the meaning of the peace which Dante identifies as the main feature of divine science, and I do so by employing liturgical hermeneutics, a methodological approach characteristic of the celebration of Mass. This hermeneutical approach looks simultaneously at the constative content of a text and its performative dimension and emphasises the importance of not concealing but taking into account the unavoidable personal dimension of any hermeneutical or intellectual activity. In this way, I challenge the conclusion that the reconciliation of the Wise Spirits is merely and only a textual reality and therefore a beautiful, poetic lie, and I instead show how Dante’s poetic depiction has serious implications for our use and understanding of rational thought. His representation does not rest on the application of the principle of non-contradiction as the ultimate foundation of reality and rational thinking: in Dante’s Paradiso, this abstract principle is replaced by a living reality, and the inner life of the Trinity is shown as being the true foundation for any possible knowledge and reality.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"38 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139686959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.
{"title":"Performing Distinction in Big Banana: Culture at the Margins of Visibility","authors":"Andrea Martinez Teruel","doi":"10.3390/h13010031","DOIUrl":"https://doi.org/10.3390/h13010031","url":null,"abstract":"Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"40 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139817812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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