Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0035
W. Liebermann
Abstract:How do disability and preservation converge in the contemporary American landscape of laws, professional design expertise, and popular imagination? Because buildings are the quintessential sites of memory, making and remaking them to include formerly excluded groups generates new social narratives. Due to entrenched ideas about the threat posed by disabled access accommodations to heritage sites, disputes frequently arise over rebuilding cherished architecture, shaping the way publics balance conserving cultural heritage with collective ethics of care.This essay examines two such controversies: a wheelchair ramp in the Board of Supervisors chamber in San Francisco City Hall and the plan to install wheelchair curb ramps in Boston’s Beacon Hill neighborhood. Combining discourse and material analysis of the two projects, this essay dismantles hardened oppositions between “authentic” heritage and disabled access positions, and offers new readings of architectural heritage, forms of remembrance, public space, and the social shaping of the disabled subject. In particular, this essay discloses how politicization of access through the idea of lost architectural heritage reframes access as optional, suspending (indefinitely) the implementation of civil rights.
{"title":"Whose Heritage? Architectural Preservation and Disabled Access in Boston and San Francisco","authors":"W. Liebermann","doi":"10.5749/futuante.16.1.0035","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0035","url":null,"abstract":"Abstract:How do disability and preservation converge in the contemporary American landscape of laws, professional design expertise, and popular imagination? Because buildings are the quintessential sites of memory, making and remaking them to include formerly excluded groups generates new social narratives. Due to entrenched ideas about the threat posed by disabled access accommodations to heritage sites, disputes frequently arise over rebuilding cherished architecture, shaping the way publics balance conserving cultural heritage with collective ethics of care.This essay examines two such controversies: a wheelchair ramp in the Board of Supervisors chamber in San Francisco City Hall and the plan to install wheelchair curb ramps in Boston’s Beacon Hill neighborhood. Combining discourse and material analysis of the two projects, this essay dismantles hardened oppositions between “authentic” heritage and disabled access positions, and offers new readings of architectural heritage, forms of remembrance, public space, and the social shaping of the disabled subject. In particular, this essay discloses how politicization of access through the idea of lost architectural heritage reframes access as optional, suspending (indefinitely) the implementation of civil rights.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"136 1","pages":"35 - 56"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88736646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0069
Sun-Young Park
Abstract:This article places the ongoing struggle between disability activism and architectural preservation in a new light, by examining the creation and renovation of the Institute for Deaf- Mutes in Paris during the period when a political and social discourse of preservationism was first being constructed. This school was converted from the former Saint-Magloire seminary during the French Revolution of 1789, as disability education was nationalized and as the revolutionary government debated the fate of Old Regime edifices and symbols. While the seminary was never officially designated a “historic monument” worth conserving, the translation of this former religious site into a national deaf institute took place alongside, and intersected with, nascent debates on preservation and restoration that spanned the revolutionary and postrevolutionary eras. Through this investigation, this article recovers the principles of inclusion, democracy, and the social collective that infused the earliest conservation efforts, ultimately to counter the binary model of historical integrity versus accessibility that colors contemporary battles over preservation and the built environment.
摘要:本文通过考察巴黎聋哑人研究所(Institute for Deaf- mute)在保护主义政治和社会话语首次建构时期的创建和改造，从新的角度审视残疾人行动主义与建筑保护之间的持续斗争。这所学校是在1789年法国大革命期间由圣马格洛瓦神学院改建而成的，当时残疾教育被国有化，革命政府就旧政权建筑和象征的命运进行了辩论。虽然神学院从未被正式指定为值得保护的“历史遗迹”，但将这个前宗教场所翻译为国家聋人研究所的过程与革命和后革命时期关于保护和修复的新生辩论同时发生，并与之交叉。通过这次调查，本文恢复了包容、民主和社会集体的原则，这些原则注入了最早的保护工作，最终对抗了历史完整性与可达性的二元模式，这种模式为当代保护和建筑环境的斗争涂上了色彩。
{"title":"Conversion, Renovation, Restoration: The Paris Deaf Institute, 1760–1840","authors":"Sun-Young Park","doi":"10.5749/futuante.16.1.0069","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0069","url":null,"abstract":"Abstract:This article places the ongoing struggle between disability activism and architectural preservation in a new light, by examining the creation and renovation of the Institute for Deaf- Mutes in Paris during the period when a political and social discourse of preservationism was first being constructed. This school was converted from the former Saint-Magloire seminary during the French Revolution of 1789, as disability education was nationalized and as the revolutionary government debated the fate of Old Regime edifices and symbols. While the seminary was never officially designated a “historic monument” worth conserving, the translation of this former religious site into a national deaf institute took place alongside, and intersected with, nascent debates on preservation and restoration that spanned the revolutionary and postrevolutionary eras. Through this investigation, this article recovers the principles of inclusion, democracy, and the social collective that infused the earliest conservation efforts, ultimately to counter the binary model of historical integrity versus accessibility that colors contemporary battles over preservation and the built environment.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"34 1","pages":"69 - 84"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85089549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0001
Mari Lending
Abstract:Already in their conception, the enormous reproductions of architectural fragments that furnished European and American museums in the last part of the nineteenth century complicated notions of in and ex situ and the fluctuating states of monuments. Mounted in galleries, they worked as time machines, allowing audiences who could not experience the monuments in situ, to travel in both time and space, into a full-scale architectural history. Within an historicist worldview that considered a perfect cast more valuable than an inferior original, and asserted that architecture is best understood in the museum and by means of reproduction, these portable monuments and their itineraries complicated notions of place and origins. Inventing and presenting monuments ex situ, they enhanced the fame of extinct and existing monuments.
{"title":"Invented Ex Situ","authors":"Mari Lending","doi":"10.5749/futuante.15.2.0001","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0001","url":null,"abstract":"Abstract:Already in their conception, the enormous reproductions of architectural fragments that furnished European and American museums in the last part of the nineteenth century complicated notions of in and ex situ and the fluctuating states of monuments. Mounted in galleries, they worked as time machines, allowing audiences who could not experience the monuments in situ, to travel in both time and space, into a full-scale architectural history. Within an historicist worldview that considered a perfect cast more valuable than an inferior original, and asserted that architecture is best understood in the museum and by means of reproduction, these portable monuments and their itineraries complicated notions of place and origins. Inventing and presenting monuments ex situ, they enhanced the fame of extinct and existing monuments.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"7 1","pages":"14 - viii"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80731365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0133
Mechtild Widrich
Abstract:In order to understand whether there is any specificity of site left today, which would allow us to even consider terms such as ex situ, we need to see how history and its construction is parsed through new engines of reproduction. This essay does not just claim that contemporary engagement with monuments and contemporary artistic practice includes an extension of history construction through social media; there is no doubt about this. Monuments are already a mediation that reshapes constructions of past events for the present. Real-time digital documentation makes possible different levels of engagement, resistance, and re-mediation, on the side of production and later in the many layers of reception, in various (often newly constructed) public spheres, which are of course not less regulated. How do artists take into account this social media reality, how to understand social engagement, and how to define site-specificity in such a situation?
{"title":"Moving Monuments in the Age of Social Media","authors":"Mechtild Widrich","doi":"10.5749/futuante.15.2.0133","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0133","url":null,"abstract":"Abstract:In order to understand whether there is any specificity of site left today, which would allow us to even consider terms such as ex situ, we need to see how history and its construction is parsed through new engines of reproduction. This essay does not just claim that contemporary engagement with monuments and contemporary artistic practice includes an extension of history construction through social media; there is no doubt about this. Monuments are already a mediation that reshapes constructions of past events for the present. Real-time digital documentation makes possible different levels of engagement, resistance, and re-mediation, on the side of production and later in the many layers of reception, in various (often newly constructed) public spheres, which are of course not less regulated. How do artists take into account this social media reality, how to understand social engagement, and how to define site-specificity in such a situation?","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"35 1","pages":"132 - 144"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85969782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0095
Justin Parscher
Abstract:Henry Ford's idiosyncratic practice of ex-situ preservation resulted in the hybrid landscape of Greenfield Village, a collection of disparate buildings with perceived heritage value assembled on a single site in Dearborn, Michigan. This essay argues that the site is best understood as a dynamic system intended to produce a certain type of citizenship fitting Ford's own self-image: active, physical engagement with material culture in order to articulate and diffuse virtue. Greenfield Village's current identification as a tourist destination obscures both Ford's original intent for the site as a school based on hands-on pedagogy, and the way that the site still affords its various user groups the ability to construct historical narrative. The essay reads the site's eccentric historiography of the United States both as an analogue of literary projects of national portraiture and as a procedural rhetoric encouraging a way of living through performance in space. While Greenfield Village's original method is deeply tied to the racism and populism of its creator, its very flexibility affords today's users and proprietors the means to actively contest these biases and put forth new visions of history.
{"title":"Going Mobile: Greenfield Village in Practice","authors":"Justin Parscher","doi":"10.5749/futuante.15.2.0095","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0095","url":null,"abstract":"Abstract:Henry Ford's idiosyncratic practice of ex-situ preservation resulted in the hybrid landscape of Greenfield Village, a collection of disparate buildings with perceived heritage value assembled on a single site in Dearborn, Michigan. This essay argues that the site is best understood as a dynamic system intended to produce a certain type of citizenship fitting Ford's own self-image: active, physical engagement with material culture in order to articulate and diffuse virtue. Greenfield Village's current identification as a tourist destination obscures both Ford's original intent for the site as a school based on hands-on pedagogy, and the way that the site still affords its various user groups the ability to construct historical narrative. The essay reads the site's eccentric historiography of the United States both as an analogue of literary projects of national portraiture and as a procedural rhetoric encouraging a way of living through performance in space. While Greenfield Village's original method is deeply tied to the racism and populism of its creator, its very flexibility affords today's users and proprietors the means to actively contest these biases and put forth new visions of history.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"182 1","pages":"111 - 94"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80332281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0047
Nikolaos Magouliotis
Abstract:The article deals with the "Pavillon de la Grèce": a modern building inspired by Byzantine architecture, designed by French architect Lucien Magne for the Paris 1900 Expo and shortly afterward transferred to Athens, where it functioned as a church. The transfer of this pavilion signaled a key moment in Greek architecture's transition from a Neoclassical paradigm to one based on the country's Byzantine heritage.The text will mainly focus on the pavilion's design and construction in Paris, its reception in the French and Greek press, and, finally, the circumstances of its transfer and reconstruction in Athens. To contextualize this within a broader historical perspective, it also touches upon the building's roots in the preceding French archaeology in Greece during the nineteenth century, as well as its current situation and perception in contemporary Athens.By examining a series of material and cognitive transfers of Byzantine heritage between France and Greece of the late-nineteenth and early-twentieth centuries, this essay argues that xi this Neo-Byzantine pavilion, although modern and subversive in its conception in Paris, was eventually received in Greece as traditional, a renaissance rather than a break with the past.
摘要:本文介绍了法国建筑师Lucien Magne为1900年巴黎世博会设计的受拜占庭建筑风格启发的现代建筑“Pavillon de la gr”，不久之后被转移到雅典，用作教堂。这个展馆的转移标志着希腊建筑从新古典主义范式过渡到基于该国拜占庭遗产的关键时刻。本文将主要关注展馆在巴黎的设计和建造，它在法国和希腊媒体中的接受情况，最后，它在雅典的转移和重建情况。为了将其置于更广阔的历史视角中，它还触及了该建筑在19世纪之前法国考古在希腊的根源，以及它在当代雅典的现状和看法。通过考察19世纪末和20世纪初法国和希腊之间拜占庭遗产的一系列物质和认知转移，本文认为，尽管这座新拜占庭式的展馆在巴黎的概念上是现代的和颠覆性的，但最终在希腊被视为传统的，是一种复兴，而不是与过去的决裂。
{"title":"Byzantium, To and Fro: The \"Pavillon de la Grèce,\" from the Paris 1900 Expo to Athens","authors":"Nikolaos Magouliotis","doi":"10.5749/futuante.15.2.0047","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0047","url":null,"abstract":"Abstract:The article deals with the \"Pavillon de la Grèce\": a modern building inspired by Byzantine architecture, designed by French architect Lucien Magne for the Paris 1900 Expo and shortly afterward transferred to Athens, where it functioned as a church. The transfer of this pavilion signaled a key moment in Greek architecture's transition from a Neoclassical paradigm to one based on the country's Byzantine heritage.The text will mainly focus on the pavilion's design and construction in Paris, its reception in the French and Greek press, and, finally, the circumstances of its transfer and reconstruction in Athens. To contextualize this within a broader historical perspective, it also touches upon the building's roots in the preceding French archaeology in Greece during the nineteenth century, as well as its current situation and perception in contemporary Athens.By examining a series of material and cognitive transfers of Byzantine heritage between France and Greece of the late-nineteenth and early-twentieth centuries, this essay argues that xi this Neo-Byzantine pavilion, although modern and subversive in its conception in Paris, was eventually received in Greece as traditional, a renaissance rather than a break with the past.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"33 1","pages":"46 - 60"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73299736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0063
A. Paine
Abstract:When the threat of recurrent flooding forced the drastic decision to move Frank Lloyd Wright's 1954 Bachman-Wilson House in New Jersey to the Crystal Bridges Museum of American Art in Bentonville, Arkansas, not all of the building made the journey. Despite the museum's assertion that the "entire structure was … taken apart and each component … labeled, packed, and moved to the Museum, where it was reconstructed in 2015," photographs of the reconstruction and other statements by the museum confirm otherwise. In reality, only the mahogany linings, timber surfaces, joinery, and furniture were reused—much of the building's structure was left behind or in storage.Like many buildings reconstructed for display ex situ, the Bachman-Wilson house has undergone a major transformation. Detached from their supporting structures, architectural fragments, facades, period rooms, and entire houses have become new, distorted, and ambiguous objects in museum collections, often likened pejoratively to theatrical stage sets. What, however, should be made of such exhibits, and what might they reveal about architecture more generally? Through a focused study of the Bachman-Wilson House, this essay offers a theorized account of the transformation of architecture relocated for display, providing new insights into such aberrant and misunderstood monuments.
摘要:由于频繁的洪水威胁，建筑师不得不做出一个重大的决定，将弗兰克·劳埃德·赖特(Frank Lloyd Wright) 1954年在新泽西州建造的巴赫曼-威尔逊故居(Bachman-Wilson House)搬到阿肯色州本顿维尔(Bentonville)的水晶桥美国艺术博物馆(Crystal Bridges Museum of American Art)，但并非所有的建筑都能完成搬迁。尽管博物馆声称“整个结构被……拆开，每个部件都被……贴上标签、包装，并转移到博物馆，并于2015年在那里重建”，但重建的照片和博物馆的其他声明却证实了相反的情况。实际上，只有红木衬里、木材表面、细木工和家具被重新利用，建筑的大部分结构都被留下或储存起来。像许多重建的建筑一样，巴赫曼-威尔逊的房子也经历了一次重大的转变。从支撑结构中分离出来，建筑碎片、立面、时代房间和整个房屋已经成为博物馆收藏中新的、扭曲的和模糊的对象，经常被贬义地比作戏剧舞台布景。然而，我们应该如何看待这样的展览?它们可能会更普遍地揭示建筑的哪些方面?通过对巴赫曼-威尔逊故居的重点研究，这篇文章提供了一个理论化的描述，为重新安置的展示建筑的转变提供了新的见解，为这些异常和被误解的纪念碑提供了新的见解。
{"title":"Not Quite Wright: Re-performing Frank Lloyd Wright's Architecture Ex Situ","authors":"A. Paine","doi":"10.5749/futuante.15.2.0063","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0063","url":null,"abstract":"Abstract:When the threat of recurrent flooding forced the drastic decision to move Frank Lloyd Wright's 1954 Bachman-Wilson House in New Jersey to the Crystal Bridges Museum of American Art in Bentonville, Arkansas, not all of the building made the journey. Despite the museum's assertion that the \"entire structure was … taken apart and each component … labeled, packed, and moved to the Museum, where it was reconstructed in 2015,\" photographs of the reconstruction and other statements by the museum confirm otherwise. In reality, only the mahogany linings, timber surfaces, joinery, and furniture were reused—much of the building's structure was left behind or in storage.Like many buildings reconstructed for display ex situ, the Bachman-Wilson house has undergone a major transformation. Detached from their supporting structures, architectural fragments, facades, period rooms, and entire houses have become new, distorted, and ambiguous objects in museum collections, often likened pejoratively to theatrical stage sets. What, however, should be made of such exhibits, and what might they reveal about architecture more generally? Through a focused study of the Bachman-Wilson House, this essay offers a theorized account of the transformation of architecture relocated for display, providing new insights into such aberrant and misunderstood monuments.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"15 1","pages":"62 - 79"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84554878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0147
K. Savage
Abstract:This essay explores the peculiar history of the Stephen Foster monument in Pittsburgh, Pa., erected in 1900, relocated in 1944, and taken down in 2018. Its racist nostalgia for the southern plantation, so bizarrely out of time and place in industrial Pittsburgh, reveals a larger structural issue of the public monument's "context." The monument's aspiration toward universality founders on the specificity of its moment of creation, making it impossible for viewers to locate themselves in time and space when confronting the monument's multiple dreams and disjunctions. The essay closes with a description of this dilemma, written as homage to G. W. Sebald.
{"title":"No Time, No Place: The Existential Crisis of the Public Monument","authors":"K. Savage","doi":"10.5749/futuante.15.2.0147","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0147","url":null,"abstract":"Abstract:This essay explores the peculiar history of the Stephen Foster monument in Pittsburgh, Pa., erected in 1900, relocated in 1944, and taken down in 2018. Its racist nostalgia for the southern plantation, so bizarrely out of time and place in industrial Pittsburgh, reveals a larger structural issue of the public monument's \"context.\" The monument's aspiration toward universality founders on the specificity of its moment of creation, making it impossible for viewers to locate themselves in time and space when confronting the monument's multiple dreams and disjunctions. The essay closes with a description of this dilemma, written as homage to G. W. Sebald.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"78 1","pages":"146 - 154"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88339368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-28DOI: 10.5749/futuante.15.2.0159
R. Mendoza
{"title":"Artist's Intervention: From Detroit to Berlin: Rosa Parks' House Re-membered","authors":"R. Mendoza","doi":"10.5749/futuante.15.2.0159","DOIUrl":"https://doi.org/10.5749/futuante.15.2.0159","url":null,"abstract":"","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"68 1","pages":"158 - 163"},"PeriodicalIF":0.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81751505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","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：