Abstract In the first part of the paper, we show that C&R’s axioms generate the following dilemma. On the one hand, they could admit that truths about future contingents have no real ground in reality. To reject the requirement of grounding, however, goes against the intuitions of most philosophers concerning truth. On the other hand, C&R could give up bivalence for future contingents at the cost of making their temporal logic more complicated and presumably losing certain theorems. In the second part, we evaluate C&R’s relativistic generalization of the growing block by discussing the various options that can be used to make relativity cohere with the growing block, and we illustrate the reasons why Stein’s “pointy present” looks preferable to bow-tie presentism.
{"title":"Nothing to Come in a Relativistic Setting","authors":"Mauro Dorato, C. Hoefer","doi":"10.2478/disp-2021-0025","DOIUrl":"https://doi.org/10.2478/disp-2021-0025","url":null,"abstract":"Abstract In the first part of the paper, we show that C&R’s axioms generate the following dilemma. On the one hand, they could admit that truths about future contingents have no real ground in reality. To reject the requirement of grounding, however, goes against the intuitions of most philosophers concerning truth. On the other hand, C&R could give up bivalence for future contingents at the cost of making their temporal logic more complicated and presumably losing certain theorems. In the second part, we evaluate C&R’s relativistic generalization of the growing block by discussing the various options that can be used to make relativity cohere with the growing block, and we illustrate the reasons why Stein’s “pointy present” looks preferable to bow-tie presentism.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"21 1","pages":"433 - 444"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81382768","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}
Abstract In Nothing To Come: A Defence of the Growing Block Theory of Time, Correia and Rosenkranz present in great depth their own version of the Growing Block Theory. This special issue contains several commentaries on Correia and Rosenkranz’s position made by leading figures in contemporary philosophy of time, together with extremely thorough replies by the authors themselves which clarify crucial aspects of their view.
{"title":"The Shape of Things to Come: Introduction to Special Issue on Nothing to Come by Correia & Rosenkranz","authors":"C. Mariani, G. Torrengo","doi":"10.2478/disp-2021-0018","DOIUrl":"https://doi.org/10.2478/disp-2021-0018","url":null,"abstract":"Abstract In Nothing To Come: A Defence of the Growing Block Theory of Time, Correia and Rosenkranz present in great depth their own version of the Growing Block Theory. This special issue contains several commentaries on Correia and Rosenkranz’s position made by leading figures in contemporary philosophy of time, together with extremely thorough replies by the authors themselves which clarify crucial aspects of their view.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"10 1","pages":"355 - 362"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77623359","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}
Abstract The paper offers a qualified endorsement of Terry Eagleton’s striking claim that “a work’s moral outlook … may be secreted as much in its form as its content”. A number of points are raised in defence of the claim: an argument for the inseparability, under certain conditions, of form and content in a literary work; an idea of moral content, not as derived moral principle, but as inward-facing interpretation grounded in an ethical vocabulary; the possibility of internal and external perspectives on fictional characters; and an emphasis on emotions expressed in, rather than caused by, narrative. Three literary examples are explored, to show how vocabulary, syntax, implicature, and tone, contribute to the emergence of moral salience. A consequence drawn is that the ethical stance readers take to a scene or incident is partially shaped by the narrative modes of its presentation. The overall perspective of the paper is that of aesthetic autonomism: the view that the aesthetic value of a work of literature is distinct from, and not reducible to, any instrumental moral values (positive or negative) attributed to the work.
{"title":"Literary Form and Ethical Content","authors":"P. Lamarque","doi":"10.2478/disp-2021-0013","DOIUrl":"https://doi.org/10.2478/disp-2021-0013","url":null,"abstract":"Abstract The paper offers a qualified endorsement of Terry Eagleton’s striking claim that “a work’s moral outlook … may be secreted as much in its form as its content”. A number of points are raised in defence of the claim: an argument for the inseparability, under certain conditions, of form and content in a literary work; an idea of moral content, not as derived moral principle, but as inward-facing interpretation grounded in an ethical vocabulary; the possibility of internal and external perspectives on fictional characters; and an emphasis on emotions expressed in, rather than caused by, narrative. Three literary examples are explored, to show how vocabulary, syntax, implicature, and tone, contribute to the emergence of moral salience. A consequence drawn is that the ethical stance readers take to a scene or incident is partially shaped by the narrative modes of its presentation. The overall perspective of the paper is that of aesthetic autonomism: the view that the aesthetic value of a work of literature is distinct from, and not reducible to, any instrumental moral values (positive or negative) attributed to the work.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"1 1","pages":"245 - 263"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76694810","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}
Abstract Friedrich Schiller’s notion of moral virtue includes self-determination through practical rationality as well as sensual self-determination through the pursuit of aesthetic value, i.e., through beauty. This paper surveys conceptual assumptions behind Schiller’s notions of moral and aesthetic perfections that allow him to ground both, moral virtue and beauty on conceptions of freedom. While Schiller’s notions of grace and dignity describe relations between the aesthetic and the moral aspects of certain determining actions, the ‘aesthetic condition’ conceptualises human beings from the perspective of aesthetic self-determinability. Schiller thereby provides a normative aesthetic standard that not only affects the moral nature of our motives and actions, but also of what we, as human beings, want to and should be conceived of in the first place. As I argue in this paper, considering this aesthetic self-determinability from a moral perspective results in an aesthetic constitution of moral virtue, which in turn justifies aesthetic obligations. Schiller thereby merges the perfections of the two normative domains for an extended anthropological conception of aesthetically infused notion of moral virtue while assuring the conceptual autonomy of each normative domain. Giving aesthetic demands a practical normative role by partly constituting moral virtue and thereby still maintain their aesthetic normative source is a move that opens up many resources for current research on the interactions between various normative demands, such as aesthetic reasons for moral or legal judgements and action, aesthetic obligations or weighing varying sources and elements of normative authority and hegemony against each other.
{"title":"Schiller on the Aesthetic Constitution of Moral Virtue and the Justification of Aesthetic Obligations","authors":"Levno von Plato","doi":"10.2478/disp-2021-0012","DOIUrl":"https://doi.org/10.2478/disp-2021-0012","url":null,"abstract":"Abstract Friedrich Schiller’s notion of moral virtue includes self-determination through practical rationality as well as sensual self-determination through the pursuit of aesthetic value, i.e., through beauty. This paper surveys conceptual assumptions behind Schiller’s notions of moral and aesthetic perfections that allow him to ground both, moral virtue and beauty on conceptions of freedom. While Schiller’s notions of grace and dignity describe relations between the aesthetic and the moral aspects of certain determining actions, the ‘aesthetic condition’ conceptualises human beings from the perspective of aesthetic self-determinability. Schiller thereby provides a normative aesthetic standard that not only affects the moral nature of our motives and actions, but also of what we, as human beings, want to and should be conceived of in the first place. As I argue in this paper, considering this aesthetic self-determinability from a moral perspective results in an aesthetic constitution of moral virtue, which in turn justifies aesthetic obligations. Schiller thereby merges the perfections of the two normative domains for an extended anthropological conception of aesthetically infused notion of moral virtue while assuring the conceptual autonomy of each normative domain. Giving aesthetic demands a practical normative role by partly constituting moral virtue and thereby still maintain their aesthetic normative source is a move that opens up many resources for current research on the interactions between various normative demands, such as aesthetic reasons for moral or legal judgements and action, aesthetic obligations or weighing varying sources and elements of normative authority and hegemony against each other.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"79 1","pages":"205 - 243"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91273077","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}
Abstract In Nothing to Come, Fabrice Correia and Sven Rosenkranz provide a sophisticated, compelling, and thoroughly defended account of the growing block theory. This note critically evaluates two aspects of this account. First, it evaluates Correia and Rosenkranz’s attempt at providing a grounding principle for future truths and argues that this principle fails to make progress in explaining why future truths are true. Second, it evaluates Correia and Rosenkranz’s construal of the open future arguing that the asymmetry in openness with respect to the past and future is not plausibly understood in terms of determinism and indeterminism, and in the final section, it evaluates their claim that a growing block theorist is able to maintain that the future is open in a stronger sense than the block theorist.
{"title":"The Growing Block, the Open Future and Future Truths","authors":"Stephan Torre","doi":"10.2478/disp-2021-0024","DOIUrl":"https://doi.org/10.2478/disp-2021-0024","url":null,"abstract":"Abstract In Nothing to Come, Fabrice Correia and Sven Rosenkranz provide a sophisticated, compelling, and thoroughly defended account of the growing block theory. This note critically evaluates two aspects of this account. First, it evaluates Correia and Rosenkranz’s attempt at providing a grounding principle for future truths and argues that this principle fails to make progress in explaining why future truths are true. Second, it evaluates Correia and Rosenkranz’s construal of the open future arguing that the asymmetry in openness with respect to the past and future is not plausibly understood in terms of determinism and indeterminism, and in the final section, it evaluates their claim that a growing block theorist is able to maintain that the future is open in a stronger sense than the block theorist.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"8 1","pages":"423 - 432"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88762946","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}
Abstract It is argued that the assignment of truth values to future contingents is threatened not by a tensed metaphysics but by a temporally “local” notion of truth, i.e., by the assumption that whatever is true at a given time needs to be grounded in what exists at that time. If this assumption is accepted, tensed and tenseless metaphysics are equally vulnerable; if it is rejected, both can accommodate true future contingents. This means that semantic decisions are largely independent of metaphysical considerations. The work of Correia and Rosenkranz (2018) is a clear example of how the tensed metaphysics of the growing block can incorporate true future contingents. Two potential worries are discussed in the context of their work: (a) that their grounding strategy overgeneralizes and admits true counterfactual contingents; and (b) that the growing block theory lacks sufficient resources to distinguish the unique possible future course of events that is relevant for the grounding of future contingents.
{"title":"Tensed Metaphysics and Non-Local Grounding of Truth","authors":"Jacek Wawer","doi":"10.2478/disp-2021-0023","DOIUrl":"https://doi.org/10.2478/disp-2021-0023","url":null,"abstract":"Abstract It is argued that the assignment of truth values to future contingents is threatened not by a tensed metaphysics but by a temporally “local” notion of truth, i.e., by the assumption that whatever is true at a given time needs to be grounded in what exists at that time. If this assumption is accepted, tensed and tenseless metaphysics are equally vulnerable; if it is rejected, both can accommodate true future contingents. This means that semantic decisions are largely independent of metaphysical considerations. The work of Correia and Rosenkranz (2018) is a clear example of how the tensed metaphysics of the growing block can incorporate true future contingents. Two potential worries are discussed in the context of their work: (a) that their grounding strategy overgeneralizes and admits true counterfactual contingents; and (b) that the growing block theory lacks sufficient resources to distinguish the unique possible future course of events that is relevant for the grounding of future contingents.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"6 1","pages":"411 - 422"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80816782","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}
Abstract The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network Theory’ have more of a struggle.
{"title":"The Value of Aesthetic Value: Aesthetics, Ethics, and The Network Theory","authors":"D. Matravers","doi":"10.2478/disp-2021-0011","DOIUrl":"https://doi.org/10.2478/disp-2021-0011","url":null,"abstract":"Abstract The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network Theory’ have more of a struggle.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"54 1","pages":"189 - 204"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91130736","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}
Abstract In this book symposium contribution, I raise a question about Correia and Rosenkranz’s version of the Growing Block Theory: Is it meant to be a Four-Dimensionalist theory (with a commitment to temporal parts), or a Three-Dimensionalist theory (according to which an object is wholly present whenever it is present)? I argue that a downside of giving the first answer to this question (that the theory is committed to temporal parts) is that in that case their theory will be vulnerable to the Epistemic Objection to the Growing Block Theory. I further argue that an important advantage of giving the second answer to my question (that the theory does not come with a commitment to temporal parts) is that the Three-Dimensionalist version of the Growing Block Theory is not susceptible to the Epistemic Objection. And I also suggest that an apparent disadvantage of saying that their theory is a Three-Dimensionalist theory, namely, that in that case they will have difficulty answering questions about the properties of non-present objects (such as parrots from the distant past), can be dealt with in a way that does not commit them to either zombie parrots or bare particulars.
{"title":"The Growing Block, the Epistemic Objection and Zombie Parrots","authors":"N. Markosian","doi":"10.2478/disp-2021-0022","DOIUrl":"https://doi.org/10.2478/disp-2021-0022","url":null,"abstract":"Abstract In this book symposium contribution, I raise a question about Correia and Rosenkranz’s version of the Growing Block Theory: Is it meant to be a Four-Dimensionalist theory (with a commitment to temporal parts), or a Three-Dimensionalist theory (according to which an object is wholly present whenever it is present)? I argue that a downside of giving the first answer to this question (that the theory is committed to temporal parts) is that in that case their theory will be vulnerable to the Epistemic Objection to the Growing Block Theory. I further argue that an important advantage of giving the second answer to my question (that the theory does not come with a commitment to temporal parts) is that the Three-Dimensionalist version of the Growing Block Theory is not susceptible to the Epistemic Objection. And I also suggest that an apparent disadvantage of saying that their theory is a Three-Dimensionalist theory, namely, that in that case they will have difficulty answering questions about the properties of non-present objects (such as parrots from the distant past), can be dealt with in a way that does not commit them to either zombie parrots or bare particulars.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"79 1","pages":"399 - 410"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78930473","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}
Abstract This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works.
{"title":"Ethical Issues on Musical Appropriation","authors":"N. G. Puy","doi":"10.2478/disp-2021-0017","DOIUrl":"https://doi.org/10.2478/disp-2021-0017","url":null,"abstract":"Abstract This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"116 1","pages":"329 - 354"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79326055","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}
Abstract Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful.
{"title":"Is There an Aesthetics of Political Song?","authors":"Vitor Guerreiro","doi":"10.2478/disp-2021-0016","DOIUrl":"https://doi.org/10.2478/disp-2021-0016","url":null,"abstract":"Abstract Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful.","PeriodicalId":52369,"journal":{"name":"Disputatio (Spain)","volume":"13 1","pages":"299 - 328"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75357887","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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