The explanation of the worldwide spread and long-term maintenance of economic asymmetries and centralized and hierarchical political structures is a major concern for sociological and humanistic disciplines. This problem may be formulated as a paradox when exploited and victimized groups overtly support the social order that subdues them. Archaeology is able to address this problem from a broad and long-term perspective. The aim of this paper is to discuss the implications of public, lethal physical violence in the context of class societies. These are characterized by economic exploitation, centralization of political power, labour specialization and heavy restrictions of vital and cognitive perspectives for most of the population. It is suggested that key social relations under these conditions could be similar to the hostage-captor bond. Henceforth, inferences based on social and psychobiological reasoning are suggested in order to solve the aforementioned social paradox.
{"title":"Violencia física, violencia pública: a la búsqueda de mecanismos de dominación social","authors":"R. Micó","doi":"10.3989/chdj.2020.009","DOIUrl":"https://doi.org/10.3989/chdj.2020.009","url":null,"abstract":"The explanation of the worldwide spread and long-term maintenance of economic asymmetries and centralized and hierarchical political structures is a major concern for sociological and humanistic disciplines. This problem may be formulated as a paradox when exploited and victimized groups overtly support the social order that subdues them. Archaeology is able to address this problem from a broad and long-term perspective. The aim of this paper is to discuss the implications of public, lethal physical violence in the context of class societies. These are characterized by economic exploitation, centralization of political power, labour specialization and heavy restrictions of vital and cognitive perspectives for most of the population. It is suggested that key social relations under these conditions could be similar to the hostage-captor bond. Henceforth, inferences based on social and psychobiological reasoning are suggested in order to solve the aforementioned social paradox.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"009"},"PeriodicalIF":0.3,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46151542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper I will explore the stereotype of the stage hypnotist in fiction literature through the analysis of the novellas Professor Fargo (1874) by Henry James (1843-1916) and Drink: A Love Story on a Great Question (1890) by Hall Caine (1853-1931). Both Professor Fargo and Drink form part of a literary subgenre referred to variously as “Hypnotic Fiction”, “Trance Gothic” or “mesmeric texts”. The objective of my research, which examines both the literary text itself and its historical and social context, is to offer new and interesting data that may contribute to the development of a poetics or theory of the literary subgenre of hypnotic fiction. In this sense, this article is an essential contribution to a broader analysis that I have been working on, focusing on highlighting the generic features of this type of literature by analysing the stereotypes of hypnotists in fiction.
{"title":"Professors, Charlatans, and Spiritists: The Stage Hypnotist in Late Nineteenth-Century English Literature","authors":"Juan Marcos Bonet Safont","doi":"10.3989/chdj.2020.007","DOIUrl":"https://doi.org/10.3989/chdj.2020.007","url":null,"abstract":"In this paper I will explore the stereotype of the stage hypnotist in fiction literature through the analysis of the novellas Professor Fargo (1874) by Henry James (1843-1916) and Drink: A Love Story on a Great Question (1890) by Hall Caine (1853-1931). Both Professor Fargo and Drink form part of a literary subgenre referred to variously as “Hypnotic Fiction”, “Trance Gothic” or “mesmeric texts”. The objective of my research, which examines both the literary text itself and its historical and social context, is to offer new and interesting data that may contribute to the development of a poetics or theory of the literary subgenre of hypnotic fiction. In this sense, this article is an essential contribution to a broader analysis that I have been working on, focusing on highlighting the generic features of this type of literature by analysing the stereotypes of hypnotists in fiction.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"007"},"PeriodicalIF":0.3,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48015992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In twentieth-century Spain, the conservative political ideology maintained a gender discourse and an ideal of femininity that remained broadly unchanged. The democratic regimes established in the country, first after the reign of Alfonso XIII and then after the Franco dictatorship, did nothing to substantially fragment the country’s conservatism with regard to its proponents’ view of the function and role that women should fulfil in society. In an attempt to trace the indelible markers of Spanish antifeminism, this article examines three of conservatism’s key ideas related to gender: a differentiated consideration of male and female natures; a rejection of feminism; and a conception of the family as the preferred locus for the development of the so-called natural
{"title":"The Indelible Markers of Twentieth-Century Spanish Antifeminism","authors":"Teresa María Ortega López, Núria Félez Castañé","doi":"10.3989/chdj.2020.008","DOIUrl":"https://doi.org/10.3989/chdj.2020.008","url":null,"abstract":"In twentieth-century Spain, the conservative political ideology maintained a gender discourse and an ideal of femininity that remained broadly unchanged. The democratic regimes established in the country, first after the reign of Alfonso XIII and then after the Franco dictatorship, did nothing to substantially fragment the country’s conservatism with regard to its proponents’ view of the function and role that women should fulfil in society. In an attempt to trace the indelible markers of Spanish antifeminism, this article examines three of conservatism’s key ideas related to gender: a differentiated consideration of male and female natures; a rejection of feminism; and a conception of the family as the preferred locus for the development of the so-called natural","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"008"},"PeriodicalIF":0.3,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46069466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Buildings play a major role in computer games set in the past, both as gameplay components and as elements of historical realism. Varying on the genre of the game they perform different functions, from the transition and movement possibilities they allow the player in action-adventure games like Assassin’s Creed (Dow, 2013) to sedentary headquarters in strategy and management titles such as Age of Empires and Civilization (Bonner, 2014). My goal with this paper is to analyse the purposes of Spain’s colonial architecture in computer games set in the period of the Spanish Monarchy’s rule overseas. In order to achieve it, I will use Adam Chapman’s theoretical and methodological framework to understand the games’ historical epistemologies and ludonarratives, and Salvati and Bullinger’s concept of selective authenticity to analyse the role of these buildings in evoking the past and giving meaning to it. Aided by these lenses, I will try to unravel the master narratives behind these titles and how they give meaning to the history of Spain and its former colonies.
{"title":"Spanish colonial architecture as selective authenticity in historical digital games","authors":"Fede Peñate Domínguez","doi":"10.3989/chdj.2020.005","DOIUrl":"https://doi.org/10.3989/chdj.2020.005","url":null,"abstract":"Buildings play a major role in computer games set in the past, both as gameplay components and as elements of historical realism. Varying on the genre of the game they perform different functions, from the transition and movement possibilities they allow the player in action-adventure games like Assassin’s Creed (Dow, 2013) to sedentary headquarters in strategy and management titles such as Age of Empires and Civilization (Bonner, 2014). My goal with this paper is to analyse the purposes of Spain’s colonial architecture in computer games set in the period of the Spanish Monarchy’s rule overseas. In order to achieve it, I will use Adam Chapman’s theoretical and methodological framework to understand the games’ historical epistemologies and ludonarratives, and Salvati and Bullinger’s concept of selective authenticity to analyse the role of these buildings in evoking the past and giving meaning to it. Aided by these lenses, I will try to unravel the master narratives behind these titles and how they give meaning to the history of Spain and its former colonies.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47837095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In “The Idea of a Town: Anthropology of Urban Form” (1976), architecture historian Joseph Rykwert defined six archetypes used in Etruscan rites for the foundation of urban settlements, which continued to be used in Classical Greece and Ancient Rome. He proposed to use these same categories for the study of cities in different eras, as a methodology to develop a global urban history. This paper projects Rykwert’s concepts to cities created during the XXI century, specifically those designed for video games with historical themes, and provides the reader with an experimental methodology for assessing digital architectures and environments. Spatial and narrative archetypes will be identified in two different video games, as well as their connections to imaginaries born in the Classic period. In Age of Empires (Ensemble Studios, 1996-2005) urban foundation corresponds to the idea of the town as a place for dominating territory. Their variable structure is grounded on a systemic set of rules that benefits tactic configurations designed by players. In contrast, Bioshock Infinite (Irrational Games, 2013) proposes an immobile storyline built around the city as its leading narrative voice. Its urban spaces direct the action through archetypes such as the “center”, the “labyrinth”, and the “door”.
{"title":"Urban archetypes applied to the study of cities in historic contemporary fictions. Symbolic urban structures in Age of Empires III and Bioshock Infinite","authors":"M. Sánchez García","doi":"10.3989/chdj.2020.006","DOIUrl":"https://doi.org/10.3989/chdj.2020.006","url":null,"abstract":"In “The Idea of a Town: Anthropology of Urban Form” (1976), architecture historian Joseph Rykwert defined six archetypes used in Etruscan rites for the foundation of urban settlements, which continued to be used in Classical Greece and Ancient Rome. He proposed to use these same categories for the study of cities in different eras, as a methodology to develop a global urban history. This paper projects Rykwert’s concepts to cities created during the XXI century, specifically those designed for video games with historical themes, and provides the reader with an experimental methodology for assessing digital architectures and environments. Spatial and narrative archetypes will be identified in two different video games, as well as their connections to imaginaries born in the Classic period. In Age of Empires (Ensemble Studios, 1996-2005) urban foundation corresponds to the idea of the town as a place for dominating territory. Their variable structure is grounded on a systemic set of rules that benefits tactic configurations designed by players. In contrast, Bioshock Infinite (Irrational Games, 2013) proposes an immobile storyline built around the city as its leading narrative voice. Its urban spaces direct the action through archetypes such as the “center”, the “labyrinth”, and the “door”.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"006"},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41452091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.
{"title":"Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame","authors":"Alberto Venegas Ramos","doi":"10.3989/chdj.2020.004","DOIUrl":"https://doi.org/10.3989/chdj.2020.004","url":null,"abstract":"Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"004"},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46979713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Developments in Virtual Reality (VR) technology are currently arousing great scientific interest because in just a few years, VR has found its niche not only in the specialised public, but also in society in general and in different contexts, thanks to its many uses in different contexts and the decreasing price of VR viewing devices. To many, this technology may appear to be a novelty of the 21st century, but its origins go back several decades. Taking into account these aspects, this article aims to analyse the past and present of VR from two perspectives: one focused on its technological development and one on its conceptual evolution. This historical overview, in turn, will allow us to address the future applications of VR in different disciplines. The study provides the reader with an indepth analysis of VR that will contribute to the understanding of this technology and its uses.
{"title":"Past, present and future of Virtual Reality: Analysis of its technological variables and definitions","authors":"Adriana Paíno Ambrosio, M. I. Rodríguez Fidalgo","doi":"10.3989/chdj.2020.010","DOIUrl":"https://doi.org/10.3989/chdj.2020.010","url":null,"abstract":"Developments in Virtual Reality (VR) technology are currently arousing great scientific interest because in just a few years, VR has found its niche not only in the specialised public, but also in society in general and in different contexts, thanks to its many uses in different contexts and the decreasing price of VR viewing devices. To many, this technology may appear to be a novelty of the 21st century, but its origins go back several decades. Taking into account these aspects, this article aims to analyse the past and present of VR from two perspectives: one focused on its technological development and one on its conceptual evolution. This historical overview, in turn, will allow us to address the future applications of VR in different disciplines. The study provides the reader with an indepth analysis of VR that will contribute to the understanding of this technology and its uses.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"9 1","pages":"010"},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45005351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since their inception in the XIX Century, mass media have been crucial in shaping the image of the urban environment on our collective subconscious. In the early 20th Century, newspapers and magazines bustled with exacerbated but fascinating images of the city of the future, which appeared as hyperbolic portrayals of the perception that the contemporary citizen had of his own effervescing modern environment. Cinema soon joined this process, as a privileged, mechanical eye that could record, analyse and reinvent the accelerated modern city and its evolution. Fritz Lang’s Metropolis (1926) epitomized the powers of the new medium, providing the viewers with a window that allowed them to see this Lacanian Other come alive, somehow encapsulating their own experience of the new urban reality. Over half a century later films such as Alien (1979) and Blade Runner (1982) took the torch as fictional future representations of postmodern space that provided the postmodern citizen with a suitably hyper-real substitute of reality. Three decades after that, the videogames and virtual reality experiences based on those very films promise to break the final barrier, allowing us to cross to the other side of the membrane, and freely move through that which is, literally, an augmented reality.
{"title":"Mass Media and the postmodern urban experience. From Metropolis to Blade Runner; from cinema to virtual reality","authors":"Luis Miguel Lus Arana","doi":"10.3989/chdj.2020.002","DOIUrl":"https://doi.org/10.3989/chdj.2020.002","url":null,"abstract":"Since their inception in the XIX Century, mass media have been crucial in shaping the image of the urban environment on our collective subconscious. In the early 20th Century, newspapers and magazines bustled with exacerbated but fascinating images of the city of the future, which appeared as hyperbolic portrayals of the perception that the contemporary citizen had of his own effervescing modern environment. Cinema soon joined this process, as a privileged, mechanical eye that could record, analyse and reinvent the accelerated modern city and its evolution. Fritz Lang’s Metropolis (1926) epitomized the powers of the new medium, providing the viewers with a window that allowed them to see this Lacanian Other come alive, somehow encapsulating their own experience of the new urban reality. Over half a century later films such as Alien (1979) and Blade Runner (1982) took the torch as fictional future representations of postmodern space that provided the postmodern citizen with a suitably hyper-real substitute of reality. Three decades after that, the videogames and virtual reality experiences based on those very films promise to break the final barrier, allowing us to cross to the other side of the membrane, and freely move through that which is, literally, an augmented reality.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45238920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anna Siemsen’s and Regina Kagi-Fuchsmann’s journey to Spain in May 1937 resulted in two accounts regarding their experiences and views of Swiss humanitarian aid in the Civil War. The comparison between these two narratives makes it possible to study the role and the expression of fear, sadness and indignation at the bombing and the forced displacement of the civil population during the war. They are shared emotions yet expressed by each one in different ways depending on the function of their ideas and their perceptions. The empathy with the displaced people, especially with the children evacuated from Madrid to Valencia and Catalonia, is the main motivation of the participants in the Swiss humanitarian aid to Republican Spain, which raises some moral dilemmas. This empathy is furthermore characterized by a strong sympathy for the civil, social and democratic values represented by the Spanish Republic. Anna Siemsen’s and Regina Kagi-Fuchsmann’s religious and ideological beliefs, however, establish the limits of their empathy.
{"title":"Swiss humanitarian aid during the Spanish Civil War: The journey of Anna Siemsen and Regina Kägi-Fuchsmann","authors":"Luís Manuel Calvo Salgado","doi":"10.3989/chdj.2019.018","DOIUrl":"https://doi.org/10.3989/chdj.2019.018","url":null,"abstract":"Anna Siemsen’s and Regina Kagi-Fuchsmann’s journey to Spain in May 1937 resulted in two accounts regarding their experiences and views of Swiss humanitarian aid in the Civil War. The comparison between these two narratives makes it possible to study the role and the expression of fear, sadness and indignation at the bombing and the forced displacement of the civil population during the war. They are shared emotions yet expressed by each one in different ways depending on the function of their ideas and their perceptions. The empathy with the displaced people, especially with the children evacuated from Madrid to Valencia and Catalonia, is the main motivation of the participants in the Swiss humanitarian aid to Republican Spain, which raises some moral dilemmas. This empathy is furthermore characterized by a strong sympathy for the civil, social and democratic values represented by the Spanish Republic. Anna Siemsen’s and Regina Kagi-Fuchsmann’s religious and ideological beliefs, however, establish the limits of their empathy.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"8 1","pages":"018"},"PeriodicalIF":0.3,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41875350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this article is to provide a brief biography of the Swiss photographer Paul Senn, and through the analysis of his photographic journalism resulting from his trips to Spain from 1937 to 1939, add a nuance from the visual perspective of the Civil War and Swiss humanitarian aid for the victims in situ. His photography kept track of both the Republican victims during “La Retirada” as well as of the refugees from Nazism in the South of France during 1942. His aim was to document the historical facts for Swiss readers, potential donors and affiliates of humanitarian aid. The final caption of a published photograph reinforces the compositional resources that Paul Senn employed to foster empathy with the homeless.
{"title":"Swiss Humanitarian Aid in Spain and Southern France through Paul Senn’s camera (1937-1942)","authors":"Natascha Schmöller","doi":"10.3989/chdj.2019.020","DOIUrl":"https://doi.org/10.3989/chdj.2019.020","url":null,"abstract":"The aim of this article is to provide a brief biography of the Swiss photographer Paul Senn, and through the analysis of his photographic journalism resulting from his trips to Spain from 1937 to 1939, add a nuance from the visual perspective of the Civil War and Swiss humanitarian aid for the victims in situ. His photography kept track of both the Republican victims during “La Retirada” as well as of the refugees from Nazism in the South of France during 1942. His aim was to document the historical facts for Swiss readers, potential donors and affiliates of humanitarian aid. The final caption of a published photograph reinforces the compositional resources that Paul Senn employed to foster empathy with the homeless.","PeriodicalId":51942,"journal":{"name":"Culture & History Digital Journal","volume":"8 1","pages":"020"},"PeriodicalIF":0.3,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44316114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","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：