The experience of homosexuality among Portuguese troops engaged in the colonial wars in Africa (1961-1974) appears primarily in those rare works that do not defend the colonial conflict nor shy away from crises of masculinity. Conversely, works apologetic of Portuguese colonialism are almost exclusively homophobic. In texts that narrate the colonial experience of openly gay writers, such references arise indirectly and in the background. Generally focused on the conflicts and traumas of young soldiers, allusions to homosexual experience negotiate a tension between surrender and self-defensive resistance. That this tension is normally resolved in favor of the latter shows how resistance was not a subversion of heteronormative masculinity; rather, it contributed to the repression of its crisis. The result is a reinforcement of the open homophobia encoded in the revolutionary ideals that led to the events of April 25, 1974.
{"title":"Masculinidades debaixo de fogo: homossocialidade e homossexualidade na guerra colonial (1961-1974)","authors":"António Fernando Cascais","doi":"10.21471/JLS.V4I1.302","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.302","url":null,"abstract":"The experience of homosexuality among Portuguese troops engaged in the colonial wars in Africa (1961-1974) appears primarily in those rare works that do not defend the colonial conflict nor shy away from crises of masculinity. Conversely, works apologetic of Portuguese colonialism are almost exclusively homophobic. In texts that narrate the colonial experience of openly gay writers, such references arise indirectly and in the background. Generally focused on the conflicts and traumas of young soldiers, allusions to homosexual experience negotiate a tension between surrender and self-defensive resistance. That this tension is normally resolved in favor of the latter shows how resistance was not a subversion of heteronormative masculinity; rather, it contributed to the repression of its crisis. The result is a reinforcement of the open homophobia encoded in the revolutionary ideals that led to the events of April 25, 1974.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47263187","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}
Talvez uma das maiores interrogações que inquietam os leitores de Machado de Assis seja descobrir o que, afinal de contas, o diferencia tanto de todos os demais escritores—sejam brasileiros ou estrangeiros—, bem como de si próprio a partir de determinado ponto de sua carreira. Este questionamento subjaz ao livro de Lúcia Granja, que situa na intensa atuação jornalística de Machado de Assis ao longo da vida sua hipótese de leitura quanto à originalidade do autor.
{"title":"Granja, Lúcia. Machado de Assis—antes do livro, o jornal: suporte, mídia e ficção. U Estadual Paulista, 2018","authors":"Mariana da Silva Lima","doi":"10.21471/JLS.V4I1.311","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.311","url":null,"abstract":"Talvez uma das maiores interrogações que inquietam os leitores de Machado de Assis seja descobrir o que, afinal de contas, o diferencia tanto de todos os demais escritores—sejam brasileiros ou estrangeiros—, bem como de si próprio a partir de determinado ponto de sua carreira. Este questionamento subjaz ao livro de Lúcia Granja, que situa na intensa atuação jornalística de Machado de Assis ao longo da vida sua hipótese de leitura quanto à originalidade do autor.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47463979","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 essay considers a heterogeneous and often unreadable group of fin-de-siècle Brazilian writers that includes Parnassians, Symbolists, and Decadents. These artists imagined themselves part of a cosmopolitan, transnational movement that posed as extravagant or queer, turning their back on both emerging nationalist sentiments and urgent social issues of their time. This detachment, I argue, points to a queer mode of historicity. I further argue that an affirmative rhetoric of hope and community is insufficient to understand or cope with negative figures, that is, those who turn away from social life, communication, and, ultimately, from futurity. I first focus on two queer fin-de-siècle writers who committed suicide, Raul Pompeia (1863-95) and the playwright Roberto Gomes (1882-1922). I then propose that an archive of Brazilian "suicidals" may provide ways of reading these fin-de-siècle writers, as well as others who resist accommodation in the genealogy of national culture.
{"title":"Between Christmas Day, 1895, and New Year’s Eve, 1922: Queer Suicide and Brazil's Long Fin de Siècle","authors":"Cesar A Braga-Pinto","doi":"10.21471/JLS.V4I1.300","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.300","url":null,"abstract":"This essay considers a heterogeneous and often unreadable group of fin-de-siècle Brazilian writers that includes Parnassians, Symbolists, and Decadents. These artists imagined themselves part of a cosmopolitan, transnational movement that posed as extravagant or queer, turning their back on both emerging nationalist sentiments and urgent social issues of their time. This detachment, I argue, points to a queer mode of historicity. I further argue that an affirmative rhetoric of hope and community is insufficient to understand or cope with negative figures, that is, those who turn away from social life, communication, and, ultimately, from futurity. I first focus on two queer fin-de-siècle writers who committed suicide, Raul Pompeia (1863-95) and the playwright Roberto Gomes (1882-1922). I then propose that an archive of Brazilian \"suicidals\" may provide ways of reading these fin-de-siècle writers, as well as others who resist accommodation in the genealogy of national culture.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43082391","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}
As part of his 1975 solo debut album, Água do céu-pássaro, Ney Matogrosso recorded a cover of "Barco negro," a Portuguese fado made famous by Amália Rodrigues and based on an earlier Brazilian song, "Mãe-preta," written by Caco Velho and Piratini and recorded by Os Tocantins in 1943. Matogrosso conflates the two versions, titling the track, "Mãe preta (Barco negro)." This article marks Matogrosso’s recording as an iteration of transgender voice and locates—in his performance and album artwork—queer, indigenous, and Afro-Brazilian intersections that rework the mãe preta figure central to Brazil’s foundational narrative. Making use of Hortense Spiller’s theorization of the trans-Atlantic slave trade as "body-theft," I argue that Matogrosso’s referents and trans voice reembody the Luso-Afro-Brazilian black mother in ways that unsettle Lusotropicalism and haunt Portuguese nationalist tropes.
作为1975年个人首张专辑Água do céu-pássaro的一部分，内伊·马托格罗索翻唱了一首《Barco negro》，这是一首葡萄牙法多舞曲，因Amália罗德里格斯而闻名，改编自一首更早的巴西歌曲《m e-preta》，后者由卡科·韦略和皮拉蒂尼创作，并于1943年由奥斯·托坎廷斯录制。Matogrosso合并了这两个版本，并将这首歌命名为“m e preta (Barco negro)”。这篇文章将Matogrosso的录音标记为跨性别声音的迭代，并在他的表演和专辑艺术中定位酷儿，土著和非裔巴西人的交叉点，这些交叉点重新塑造了m e preta人在巴西基础叙事中的核心地位。利用霍顿斯·斯皮勒(Hortense Spiller)关于跨大西洋奴隶贸易是“身体盗窃”的理论，我认为马托格罗索的指涉物和跨性别的声音重新体现了葡萄牙-非洲-巴西黑人母亲，这种方式扰乱了葡语热带主义，困扰着葡萄牙民族主义的比喻。
{"title":"Black Mothers and Black Boats: Queer, Indigenous, and Afro-Brazilian Intersections in Ney Matogrosso's \"Mãe preta (Barco negro)\"","authors":"Daniel da Silva","doi":"10.21471/JLS.V4I1.305","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.305","url":null,"abstract":"As part of his 1975 solo debut album, Água do céu-pássaro, Ney Matogrosso recorded a cover of \"Barco negro,\" a Portuguese fado made famous by Amália Rodrigues and based on an earlier Brazilian song, \"Mãe-preta,\" written by Caco Velho and Piratini and recorded by Os Tocantins in 1943. Matogrosso conflates the two versions, titling the track, \"Mãe preta (Barco negro).\" This article marks Matogrosso’s recording as an iteration of transgender voice and locates—in his performance and album artwork—queer, indigenous, and Afro-Brazilian intersections that rework the mãe preta figure central to Brazil’s foundational narrative. Making use of Hortense Spiller’s theorization of the trans-Atlantic slave trade as \"body-theft,\" I argue that Matogrosso’s referents and trans voice reembody the Luso-Afro-Brazilian black mother in ways that unsettle Lusotropicalism and haunt Portuguese nationalist tropes.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48522978","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 poetry of Valério Pereliéchin ("Valerii Pereleshin" in his native Russian), a gay writer and translator who produced a significant collection of homoerotic poems in Portuguese over the second half of the twentieth century. Pereliéchin was born in Russia in 1913 and soon migrated to China, where he lived among other Russian émigrés in the town of Harbin. In 1953, after a failed attempt to go to the United States, he and his mother arrived in Brazil, where he lived–unnoticed by local writers and artists–for almost forty years. A central issue in Pereliéchin's personal life, homosexuality gradually became the core theme of his work. Through the idea of "existential left-handedness," Pereliéchin challenged heteronormativity, especially by refuting what Lee Edelman has called "reproductive futurity." I argue that Pereliéchin's alternative way of tackling the past and future stems from the intersectionality of his experiences as a gay man and an émigré.
{"title":"A perspectiva canhota de um emigrado russo: expressão homoerótica na poesia de Valério Pereliéchin (1953-1992)","authors":"Carlos Cortez Minchillo","doi":"10.21471/JLS.V4I1.301","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.301","url":null,"abstract":"This article examines the poetry of Valério Pereliéchin (\"Valerii Pereleshin\" in his native Russian), a gay writer and translator who produced a significant collection of homoerotic poems in Portuguese over the second half of the twentieth century. Pereliéchin was born in Russia in 1913 and soon migrated to China, where he lived among other Russian émigrés in the town of Harbin. In 1953, after a failed attempt to go to the United States, he and his mother arrived in Brazil, where he lived–unnoticed by local writers and artists–for almost forty years. A central issue in Pereliéchin's personal life, homosexuality gradually became the core theme of his work. Through the idea of \"existential left-handedness,\" Pereliéchin challenged heteronormativity, especially by refuting what Lee Edelman has called \"reproductive futurity.\" I argue that Pereliéchin's alternative way of tackling the past and future stems from the intersectionality of his experiences as a gay man and an émigré.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49341958","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 considers Carlos Hugo Christensen's film O menino e o vento (1968) through the work of queer theorist Leo Bersani. It argues that Christensen’s depiction of same-sex desire makes a fundamental challenge to social organization by reconfiguring the basic unit of interpersonal relations (self and other). Against the well-disciplined homosexual subject, the film presents homosexuality as an impersonal, quasi-mystical, homoerotic force that breaks down and transcends the barriers between individuals, shattering all efforts to name and so to control it. This article addresses specifically the question of queer utopias, sketching out what one might look like in Lusophone cinema. It contributes to the current scholarship on Christensen while examining how ideas about homosexuality are formulated in Lusophone cultures more generally, and how they might be politically useful.
本文通过酷儿理论家Leo Bersani的作品来思考卡洛斯·雨果·克里斯滕森的电影《O menino e O vento》（1968）。它认为，克里斯滕森对同性欲望的描述通过重新配置人际关系的基本单元（自我和他人），对社会组织提出了根本性的挑战。与纪律严明的同性恋主题相反，这部电影将同性恋呈现为一种非个人的、准神秘的、同性恋的力量，它打破并超越了个人之间的障碍，粉碎了所有命名和控制它的努力。这篇文章专门讨论了酷儿乌托邦的问题，勾勒出了一个人在葡语电影中的样子。它为目前关于克里斯滕森的学术研究做出了贡献，同时研究了在葡语文化中关于同性恋的思想是如何形成的，以及它们在政治上是如何有用的。
{"title":"Selfish Mysticism, Queer Utopias: 'Homo-ness' in Carlos Hugo Christensen's O menino e o vento","authors":"James Hodgson","doi":"10.21471/JLS.V4I1.303","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.303","url":null,"abstract":"This article considers Carlos Hugo Christensen's film O menino e o vento (1968) through the work of queer theorist Leo Bersani. It argues that Christensen’s depiction of same-sex desire makes a fundamental challenge to social organization by reconfiguring the basic unit of interpersonal relations (self and other). Against the well-disciplined homosexual subject, the film presents homosexuality as an impersonal, quasi-mystical, homoerotic force that breaks down and transcends the barriers between individuals, shattering all efforts to name and so to control it. This article addresses specifically the question of queer utopias, sketching out what one might look like in Lusophone cinema. It contributes to the current scholarship on Christensen while examining how ideas about homosexuality are formulated in Lusophone cultures more generally, and how they might be politically useful.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45902511","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 volume's ambition is to respond to major interpretations of Latin American literature—such as Ángel Rama's Transculturación narrativa en América Latina (1982), John Beverley’s Against Literature (1993) and Testimonio (2004), Alberto Moreiras's Tercer espacio (1999), and Brett Levinson's The Ends of Literature (2001)—and to define the contours of this counter-tradition conceived as "a multidisciplinary, minoritarian, and multimedial 'body' of writing that produces affects and new modes of perception" (7).
{"title":"Shellhorse, Adam Joseph. Anti-Literature: The Politics and Limits of Representation in Modern Brazil and Argentina. U of Pittsburgh P, 2017","authors":"Odile Cisneros","doi":"10.21471/JLS.V4I1.310","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.310","url":null,"abstract":"This volume's ambition is to respond to major interpretations of Latin American literature—such as Ángel Rama's Transculturación narrativa en América Latina (1982), John Beverley’s Against Literature (1993) and Testimonio (2004), Alberto Moreiras's Tercer espacio (1999), and Brett Levinson's The Ends of Literature (2001)—and to define the contours of this counter-tradition conceived as \"a multidisciplinary, minoritarian, and multimedial 'body' of writing that produces affects and new modes of perception\" (7).","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48012548","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}
Maria Tavares's first monograph poses an immediate question: Are nonconforming women dispossessed from a country, any country? The provocative title sets in motion a study based on the comparative analysis of three female authors from Lusophone Africa, namely Dina Salústio from Cape Verde, Paulina Chiziane from Mozambique, and the Angolan Rosária da Silva. Tavares takes as her point of departure the fact that, despite their differences, all three were the first female writers to publish in the context of their respective independent nations.
{"title":"Tavares, Maria. No Country for Nonconforming Women: Feminine Conceptions of Lusophone Africa. Legenda, 2018","authors":"Sandra Sousa","doi":"10.21471/JLS.V4I1.313","DOIUrl":"https://doi.org/10.21471/JLS.V4I1.313","url":null,"abstract":"Maria Tavares's first monograph poses an immediate question: Are nonconforming women dispossessed from a country, any country? The provocative title sets in motion a study based on the comparative analysis of three female authors from Lusophone Africa, namely Dina Salústio from Cape Verde, Paulina Chiziane from Mozambique, and the Angolan Rosária da Silva. Tavares takes as her point of departure the fact that, despite their differences, all three were the first female writers to publish in the context of their respective independent nations.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557233","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}
By analyzing mostly visual contemporary cultural production (such as photographs or videos) from Rio’s favelas, Bezerra points to ways in which favela residents themselves provide rich material that challenges the portrayal of their communities in the mainstream media, where they are often criminalized and marginalized. Written with the backdrop of the city’s preparations for hosting the FIFA World Cup, Olympic and Paralympic games, Postcards from Rio is also a testimony to the detrimental effects of the commodification of space that occurs when the state prioritizes a city’s brand image over its citizens.
{"title":"Bezerra, Kátia da Costa. Postcards from Rio; Favelas and the Contested Geographies of Citizenship. Fordham UP, 2017.","authors":"M. Kramer","doi":"10.21471/JLS.V3I2.270","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.270","url":null,"abstract":"By analyzing mostly visual contemporary cultural production (such as photographs or videos) from Rio’s favelas, Bezerra points to ways in which favela residents themselves provide rich material that challenges the portrayal of their communities in the mainstream media, where they are often criminalized and marginalized. Written with the backdrop of the city’s preparations for hosting the FIFA World Cup, Olympic and Paralympic games, Postcards from Rio is also a testimony to the detrimental effects of the commodification of space that occurs when the state prioritizes a city’s brand image over its citizens.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47954705","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 essay investigates an orientalist typography operating in Portugal from the end of the nineteenth century to the beginning of the twentieth century by focusing on the typographer José António Dias Coelho (1858-1940). He served for almost fifty years at the national printing press (Imprensa Nacional) and was responsible for the composition of most of the works then published by well-reputed Portuguese orientalists. The essay is divided into two parts: first, evidence is provided of his notorious performance in using Oriental types based on testimonies extracted from books’ paratexts by Portuguese orientalists (such as Guilherme de Vasconcelos Abreu, Sebastião Rodolfo Dalgado, or David Lopes); then, a micro-history of the Portuguese typographer is written so as to evince his role in the genealogy of Oriental Studies in Portugal.
本文以印刷家若泽·安东尼奥·迪亚斯·科埃略（1858-1940）为研究对象，探讨了19世纪末至20世纪初在葡萄牙运作的东方主义印刷术。他在国家印刷厂（Imprensa Nacional）工作了近50年，并负责撰写当时由著名的葡萄牙东方学家出版的大部分作品。本文分为两个部分：首先，根据葡萄牙东方学家（如Guilherme de Vasconcelos Abreu、Sebastião Rodolfo Dalgado或David Lopes）从书中摘录的证词，提供了他使用东方类型的臭名昭著的表现的证据；然后，以葡萄牙印刷学家的微观史为线索，揭示他在葡萄牙东方学谱系中的作用。
{"title":"A tipografia nacional finissecular: micro-história de um tipógrafo orientalista","authors":"Marta Pacheco Pinto","doi":"10.21471/JLS.V3I2.203","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.203","url":null,"abstract":"This essay investigates an orientalist typography operating in Portugal from the end of the nineteenth century to the beginning of the twentieth century by focusing on the typographer José António Dias Coelho (1858-1940). He served for almost fifty years at the national printing press (Imprensa Nacional) and was responsible for the composition of most of the works then published by well-reputed Portuguese orientalists. The essay is divided into two parts: first, evidence is provided of his notorious performance in using Oriental types based on testimonies extracted from books’ paratexts by Portuguese orientalists (such as Guilherme de Vasconcelos Abreu, Sebastião Rodolfo Dalgado, or David Lopes); then, a micro-history of the Portuguese typographer is written so as to evince his role in the genealogy of Oriental Studies in Portugal.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47716507","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}
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：