Abstract While memes have been implicated in a loosening of the boundary between illusion and reality during the rise of Trumpism and the COVID-19 pandemic, they have been afforded scarce attention from a psychoanalytic perspective. This essay proposes that Sigmund Freud's language on dream-work can be used to describe the psychical work that these digital items effect. If Freud's terms identify the operations by which unconscious fantasies are inscribed in certain cultural artefacts, their resonance with memetic characteristics suggests that the meme may be a privileged form for investigating the mass mediation of group dynamics. Drawing on the work of psychoanalysts such as Stephen Mitchell, Jean-Bertrand Pontalis, René Kaës, and Didier Anzieu, this text explores how their theoretical frameworks might enrich a conceptualization of the role that memes play within the psychic life of groups.
{"title":"On Meme Work∗","authors":"Ivan Knapp","doi":"10.1162/octo_a_00474","DOIUrl":"https://doi.org/10.1162/octo_a_00474","url":null,"abstract":"Abstract While memes have been implicated in a loosening of the boundary between illusion and reality during the rise of Trumpism and the COVID-19 pandemic, they have been afforded scarce attention from a psychoanalytic perspective. This essay proposes that Sigmund Freud's language on dream-work can be used to describe the psychical work that these digital items effect. If Freud's terms identify the operations by which unconscious fantasies are inscribed in certain cultural artefacts, their resonance with memetic characteristics suggests that the meme may be a privileged form for investigating the mass mediation of group dynamics. Drawing on the work of psychoanalysts such as Stephen Mitchell, Jean-Bertrand Pontalis, René Kaës, and Didier Anzieu, this text explores how their theoretical frameworks might enrich a conceptualization of the role that memes play within the psychic life of groups.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"3-16"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45553849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Six works from the artist Mira Schor's open-ended series of handwritten defacements of the New York Times— most often of its front page—which she irregularly posts on Instagram. Varying in intensity, all have the same target: the way the language of the paper, aping “objectivity,” often tends toward obfuscation, which the artist regards as a dereliction of duty, a variety of Orwellian doublespeak that is much more subtle than what one might find on Fox News, making the debunking of its rhetoric all the more urgent.
艺术家米拉·肖尔(Mira Schor)的六幅作品是她不定期地在Instagram上发布的《纽约时报》(New York Times)开放式手写涂鸦系列——大多数是头版。虽然强度不同，但都有相同的目标:报纸的语言方式，模仿“客观性”，往往倾向于混淆，艺术家认为这是一种玩忽职守，是一种奥威尔式的双重性，比人们在福克斯新闻上看到的要微妙得多，这使得揭穿其修辞变得更加紧迫。
{"title":"New York Times Interventions","authors":"Mira Schor","doi":"10.1162/octo_a_00478","DOIUrl":"https://doi.org/10.1162/octo_a_00478","url":null,"abstract":"Abstract Six works from the artist Mira Schor's open-ended series of handwritten defacements of the New York Times— most often of its front page—which she irregularly posts on Instagram. Varying in intensity, all have the same target: the way the language of the paper, aping “objectivity,” often tends toward obfuscation, which the artist regards as a dereliction of duty, a variety of Orwellian doublespeak that is much more subtle than what one might find on Fox News, making the debunking of its rhetoric all the more urgent.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"107-114"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46647790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Letters to the Editor and Other Comments” is a selection of comments the artist Morgan Fisher made on Facebook during Trump's presidency. Most were copies of letters he had sent to various departments at the New York Times criticizing its coverage of the president. They are “a record,” writes George Baker, “of an artist's engagement with a moment, one through which we have evidently still not passed. The practice … was almost daily, more or less constant, an insistent and repeated holding of the public sphere to account, perhaps even a willing of it into existence.”
{"title":"Letters to the Editor and Other Comment","authors":"Morgan Fisher","doi":"10.1162/octo_a_00479","DOIUrl":"https://doi.org/10.1162/octo_a_00479","url":null,"abstract":"Abstract “Letters to the Editor and Other Comments” is a selection of comments the artist Morgan Fisher made on Facebook during Trump's presidency. Most were copies of letters he had sent to various departments at the New York Times criticizing its coverage of the president. They are “a record,” writes George Baker, “of an artist's engagement with a moment, one through which we have evidently still not passed. The practice … was almost daily, more or less constant, an insistent and repeated holding of the public sphere to account, perhaps even a willing of it into existence.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"115-139"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45348001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Where can we locate race/whiteness in theories and practices of appropriation—that defining practice of the “postmodern” moment of the 1980s? This article approaches the question through a close reading of Glenn Ligon's installation Notes on the Margin of the Black Book (1991–93). In this work, Ligon restages Robert Mapplethorpe's photographs of (mostly nude) Black men alongside textual quotations that discuss Mapplethorpe's work and the politics of interracial homo-erotic desire in the United States. Here, citation and annotation function as alternatives to appropriation's possessive strategy. The essay asks, if appropriation is a white avant-garde device for negating liberal notions of authorship, are citation and annotation its counterpoint for Blackness and Black authorship? The answer is sought through the interrogation of the different ways in which French and US copyright laws addressed authorship and Black subjectivity in the nineteenth and twentieth centuries.
{"title":"The Race for Appropriation: Blackness, Authorship, and Ligon on Mapplethorpe∗","authors":"Hamed Yousefi","doi":"10.1162/octo_a_00476","DOIUrl":"https://doi.org/10.1162/octo_a_00476","url":null,"abstract":"Abstract Where can we locate race/whiteness in theories and practices of appropriation—that defining practice of the “postmodern” moment of the 1980s? This article approaches the question through a close reading of Glenn Ligon's installation Notes on the Margin of the Black Book (1991–93). In this work, Ligon restages Robert Mapplethorpe's photographs of (mostly nude) Black men alongside textual quotations that discuss Mapplethorpe's work and the politics of interracial homo-erotic desire in the United States. Here, citation and annotation function as alternatives to appropriation's possessive strategy. The essay asks, if appropriation is a white avant-garde device for negating liberal notions of authorship, are citation and annotation its counterpoint for Blackness and Black authorship? The answer is sought through the interrogation of the different ways in which French and US copyright laws addressed authorship and Black subjectivity in the nineteenth and twentieth centuries.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"85 26","pages":"50-74"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41250345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Organizational Aesthetics” traces the genealogies of artistic practices engaging socially, politically, and aesthetically with form to enter into fundamental debates about hierarchy, horizontality, and centralization. Against the background of historical conflicts over relational aesthetics and tactical media, the essay problematizes the exclusive focus on physical gatherings as the exclusive site of relationality. Instead, it offers an analysis that revolves around the dialectic of such gatherings and the organizational and technological structures that subtend and transcend them. Spanning the mid-1990s to the present, this account of organizational aesthetics includes critical discussions of artists, activists, theorists, and collectives including BüroBert, Alice Creischer, Andrea Fraser, Jeanne van Heeswijk, Geert Lovink, ruangrupa, and Jonas Staal.
摘要“组织美学”追溯了艺术实践的谱系，这些实践以形式参与社会、政治和美学，以进入关于等级、水平和集中的基本辩论。在关系美学和战术媒体的历史冲突背景下，本文将对身体聚会的排他性关注作为关系的排他性场所进行了质疑。相反，它提供了一种围绕着这种聚会的辩证法以及隐藏和超越它们的组织和技术结构的分析。从20世纪90年代中期到现在，这种对组织美学的描述包括艺术家、活动家、理论家和集体的批判性讨论，包括BüroBert、Alice Creischer、Andrea Fraser、Jeanne van Heeswijk、Geert Lovink、ruangrupa和Jonas Staal。
{"title":"Organizational Aesthetics: On Certain Practices and Genealogies∗","authors":"S. Lütticken","doi":"10.1162/octo_a_00475","DOIUrl":"https://doi.org/10.1162/octo_a_00475","url":null,"abstract":"Abstract “Organizational Aesthetics” traces the genealogies of artistic practices engaging socially, politically, and aesthetically with form to enter into fundamental debates about hierarchy, horizontality, and centralization. Against the background of historical conflicts over relational aesthetics and tactical media, the essay problematizes the exclusive focus on physical gatherings as the exclusive site of relationality. Instead, it offers an analysis that revolves around the dialectic of such gatherings and the organizational and technological structures that subtend and transcend them. Spanning the mid-1990s to the present, this account of organizational aesthetics includes critical discussions of artists, activists, theorists, and collectives including BüroBert, Alice Creischer, Andrea Fraser, Jeanne van Heeswijk, Geert Lovink, ruangrupa, and Jonas Staal.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"17-49"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47141810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as eccentric, fantastic, and spectacular in their expressions and emotions propelled the émigré photographer with meager experience into a central position in the making of mid-century American photography, both social-documentary and commercial. Moving beyond the localized context of postwar American photography in which Model's work has been largely investigated, this essay argues for an understanding of Model's New York portraits as being shaped and informed by the photographer's consideration of the crisis of history and the violence enacted by fascism in Europe, as well as the historical condition of exile. One of the essay's claims is that Model revitalized a kind of pleasurable violence, one that enacts a sense of excessive bodily dynamism, often to the point of self-destruction, on the bodies of the American lumpenproletariat at leisure, in order both to come to terms with the role of the lumpenproletariat as the central subject of fascist politics and aesthetics in the Old World and to put pressure on the conditions of the mass subject and mass politics in the New World.
{"title":"Lisette Model: Another Frankfurt School Photographer in New York","authors":"Hyewon Yoon","doi":"10.1162/octo_a_00491","DOIUrl":"https://doi.org/10.1162/octo_a_00491","url":null,"abstract":"Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as eccentric, fantastic, and spectacular in their expressions and emotions propelled the émigré photographer with meager experience into a central position in the making of mid-century American photography, both social-documentary and commercial. Moving beyond the localized context of postwar American photography in which Model's work has been largely investigated, this essay argues for an understanding of Model's New York portraits as being shaped and informed by the photographer's consideration of the crisis of history and the violence enacted by fascism in Europe, as well as the historical condition of exile. One of the essay's claims is that Model revitalized a kind of pleasurable violence, one that enacts a sense of excessive bodily dynamism, often to the point of self-destruction, on the bodies of the American lumpenproletariat at leisure, in order both to come to terms with the role of the lumpenproletariat as the central subject of fascist politics and aesthetics in the Old World and to put pressure on the conditions of the mass subject and mass politics in the New World.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This text examines Siegfried Kracauer's unfinished final book, the posthumously published History: The Last Things Before the Last (1969). While Kracauer's Weimar writings have long been celebrated, History, apart from a few key early texts, has only recently been given critical attention. Written in English in New York in the 1960s, the book lies at the intersection of film theory and historical philosophy. One of the key contributions of History, I argue, is that it offers a filmic technology of historical thought that might intervene in the emergent systems of temporal management and control that haunted the 1960s and continue to condition our experience of time to this day. Kracauer's name for his counter-technology is “the anteroom,” and its function is to aid utopian thought and practice, what he calls “the emergence of something new, something beyond the jurisdiction of nature.”
{"title":"“Great Historians Are Biological Freaks”: Siegfried Kracauer's Philosophy of History","authors":"Kevin Lotery","doi":"10.1162/octo_a_00497","DOIUrl":"https://doi.org/10.1162/octo_a_00497","url":null,"abstract":"Abstract This text examines Siegfried Kracauer's unfinished final book, the posthumously published History: The Last Things Before the Last (1969). While Kracauer's Weimar writings have long been celebrated, History, apart from a few key early texts, has only recently been given critical attention. Written in English in New York in the 1960s, the book lies at the intersection of film theory and historical philosophy. One of the key contributions of History, I argue, is that it offers a filmic technology of historical thought that might intervene in the emergent systems of temporal management and control that haunted the 1960s and continue to condition our experience of time to this day. Kracauer's name for his counter-technology is “the anteroom,” and its function is to aid utopian thought and practice, what he calls “the emergence of something new, something beyond the jurisdiction of nature.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.
{"title":"Mondrian's Boogie Woogie","authors":"Leah Dickerman","doi":"10.1162/octo_a_00496","DOIUrl":"https://doi.org/10.1162/octo_a_00496","url":null,"abstract":"Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay investigates the status of “reification” in the work of Marcel Broodthaers, particularly in the 1971 “Section Financière” of his Musée d'Art Moderne, Départment des Aigles. It will pose finance and debt as social forms through which Broodthaers both experienced reification concretely and attempted to register its forming pressure upon the artwork's conditions of possibility. The article argues that it was Broodthaers's understanding of reification that allowed him, at a crux in the history of finance represented by the end of the Bretton Woods agreement in 1971, to posit art as a speculative investment at once uncoupled from the concrete limitations of production and ever-more-tightly ensnared by the economic power of debt.
摘要本文探讨了“物化”在马塞尔·布罗德泰尔(Marcel Broodthaers)的作品中的地位，特别是1971年他的《现代艺术》(dassaement des Aigles)中的“金融部分”。它将把金融和债务作为社会形式，通过这些形式，布罗德塔埃尔既具体地经历了具体化，又试图在艺术作品的可能性条件下记录其形成压力。这篇文章认为，正是布罗德泰尔斯对具体化的理解，使他在1971年布雷顿森林协定结束为代表的金融历史的关键时刻，将艺术视为一种投机性投资，立即与生产的具体限制脱钩，并越来越紧密地陷入债务的经济力量。
{"title":"Broodthaers's Debt","authors":"Trevor Stark","doi":"10.1162/octo_a_00494","DOIUrl":"https://doi.org/10.1162/octo_a_00494","url":null,"abstract":"Abstract This essay investigates the status of “reification” in the work of Marcel Broodthaers, particularly in the 1971 “Section Financière” of his Musée d'Art Moderne, Départment des Aigles. It will pose finance and debt as social forms through which Broodthaers both experienced reification concretely and attempted to register its forming pressure upon the artwork's conditions of possibility. The article argues that it was Broodthaers's understanding of reification that allowed him, at a crux in the history of finance represented by the end of the Bretton Woods agreement in 1971, to posit art as a speculative investment at once uncoupled from the concrete limitations of production and ever-more-tightly ensnared by the economic power of debt.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In his seminar “The Eye and the Gaze,” Jacques Lacan is forced to regard the problem of the unconscious through the grid of the Cartesian cogito. In the certainty of “I think, therefore I am,” which expresses the complete transparency of the self to its own apprehension, leaves no space for the ineffability of the unconscious. Lacan sees this proto-enlightenment certainty running through all perceptual mechanisms, as in Paul Valèry's poem “La Jeune Parque,” which declares, “I saw myself seeing myself.” Lacan turns to anamorphosis as a perceptual exception, in which there are two viewing points turned on the same object, neither coinciding with the other, such that classical perspective's fundamental unity of the perceiving subject is alienated from itself—a Spaltung, or split, that enables the unconscious presence of the uncanny and its castrative impression of death.
{"title":"The Madness of the Gaze: for Hubert Damisch, in every light","authors":"Rosalind E. Krauss","doi":"10.1162/octo_a_00499","DOIUrl":"https://doi.org/10.1162/octo_a_00499","url":null,"abstract":"Abstract In his seminar “The Eye and the Gaze,” Jacques Lacan is forced to regard the problem of the unconscious through the grid of the Cartesian cogito. In the certainty of “I think, therefore I am,” which expresses the complete transparency of the self to its own apprehension, leaves no space for the ineffability of the unconscious. Lacan sees this proto-enlightenment certainty running through all perceptual mechanisms, as in Paul Valèry's poem “La Jeune Parque,” which declares, “I saw myself seeing myself.” Lacan turns to anamorphosis as a perceptual exception, in which there are two viewing points turned on the same object, neither coinciding with the other, such that classical perspective's fundamental unity of the perceiving subject is alienated from itself—a Spaltung, or split, that enables the unconscious presence of the uncanny and its castrative impression of death.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：