n this essay I will advance a contrarian (though not original) claim about theater history—that it is far more likely that Robert Armin, the company clown of the King’sMen, played Edgar, rather than the Fool, in the original casting of King Lear—and I will use this argument as a gateway to revisiting the familiar and widely contested hypothesis that the roles of Cordelia and the Fool were originally doubled by a boy actor. I will show how a wealth of circumstantial evidence supports the likelihood that the disguising of the character of Edgar as a Bedlam beggar served as a vehicle both for unleashing Armin’s improvisatory skills and for exploiting his cultural profile, and I contend that Armin’s portrayal of the mocknatural fool Poor Tom functions as a metatheatrical device designed to lay the groundwork for the doubling of Cordelia and the Fool. This set of conceptual castings has two significant interpretive implications: (1) Instead of Armin (as Fool) leaving the play near its midpoint, Armin as Tom is able to upstage the young actor who has usurped his usual role as the licensed court fool; and (2) when Lear is accompanied in exile not only by two disguised figures (Kent/Caius and Edgar/ Tom) but also by a doubled actor, the performative logic of the play reflects its moral logic. As the complementary devices of disguise and doubling incrementally transcend realism, they magnify the scale of the challenges Lear faces as he tries to settle his moral accounts before he dies. Lear’s serial recognition scenes with familiar but obscured figures—the disfigured Gloucester and the disguised Kent and Edgar—rehearse the logic of a morality play as they register Lear’s acknowledgments of his moral debts to his closest followers. It is always possible for Lear to penetrate the disguises and discover that Caius is really Kent and that Tom is Edgar, but a doubled Cordelia/Fool presents a challenge of a different order. Lear’s finalmisrecognition of Cordelia as “mypoor fool” (Q 24.300) ismore than
{"title":"Disguise and Doubling: Casting King Lear","authors":"J. O'rourke","doi":"10.1086/713983","DOIUrl":"https://doi.org/10.1086/713983","url":null,"abstract":"n this essay I will advance a contrarian (though not original) claim about theater history—that it is far more likely that Robert Armin, the company clown of the King’sMen, played Edgar, rather than the Fool, in the original casting of King Lear—and I will use this argument as a gateway to revisiting the familiar and widely contested hypothesis that the roles of Cordelia and the Fool were originally doubled by a boy actor. I will show how a wealth of circumstantial evidence supports the likelihood that the disguising of the character of Edgar as a Bedlam beggar served as a vehicle both for unleashing Armin’s improvisatory skills and for exploiting his cultural profile, and I contend that Armin’s portrayal of the mocknatural fool Poor Tom functions as a metatheatrical device designed to lay the groundwork for the doubling of Cordelia and the Fool. This set of conceptual castings has two significant interpretive implications: (1) Instead of Armin (as Fool) leaving the play near its midpoint, Armin as Tom is able to upstage the young actor who has usurped his usual role as the licensed court fool; and (2) when Lear is accompanied in exile not only by two disguised figures (Kent/Caius and Edgar/ Tom) but also by a doubled actor, the performative logic of the play reflects its moral logic. As the complementary devices of disguise and doubling incrementally transcend realism, they magnify the scale of the challenges Lear faces as he tries to settle his moral accounts before he dies. Lear’s serial recognition scenes with familiar but obscured figures—the disfigured Gloucester and the disguised Kent and Edgar—rehearse the logic of a morality play as they register Lear’s acknowledgments of his moral debts to his closest followers. It is always possible for Lear to penetrate the disguises and discover that Caius is really Kent and that Tom is Edgar, but a doubled Cordelia/Fool presents a challenge of a different order. Lear’s finalmisrecognition of Cordelia as “mypoor fool” (Q 24.300) ismore than","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"57 - 76"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44202777","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}
n Grandison, a Slave, v. The State (1841), Judge Nathan Green reversed the decision of the Tennessee circuit court ofWarren County for the assault, battery, and rape of Mary Douglass. While the indictment expressed that the accused did “feloniously ravish and carnally know” the said Douglass, it had omitted the victim’s race. According to Green, “[s]uch an act committed upon a black woman would not be punished with death. It follows, therefore, most clearly, that this fact”—the victim’s White race—“gives to the offense its enormity.” As Green’s cold assessment makes plain, rape statutes were designed with White female victimhood in mind. In the antebellum American South, it was not just the severity of rape that wasmitigated by the race of the survivor but the crime itself that could be effaced if the victim had not been White. The Mississippi Supreme Court in 1859 reversed another conviction in the lower-court ruling ofGeorge v. State, a case concerning the rape of a nine-year-old Black girl. George’s attorney argued that “the regulations of law, as to the white race, on the subject of sexual intercourse,
{"title":"“Thou maiest inforce my body but not mee”: Racializing Consent in John Marston’s The Wonder of Women","authors":"Kirsten N. Mendoza","doi":"10.1086/713986","DOIUrl":"https://doi.org/10.1086/713986","url":null,"abstract":"n Grandison, a Slave, v. The State (1841), Judge Nathan Green reversed the decision of the Tennessee circuit court ofWarren County for the assault, battery, and rape of Mary Douglass. While the indictment expressed that the accused did “feloniously ravish and carnally know” the said Douglass, it had omitted the victim’s race. According to Green, “[s]uch an act committed upon a black woman would not be punished with death. It follows, therefore, most clearly, that this fact”—the victim’s White race—“gives to the offense its enormity.” As Green’s cold assessment makes plain, rape statutes were designed with White female victimhood in mind. In the antebellum American South, it was not just the severity of rape that wasmitigated by the race of the survivor but the crime itself that could be effaced if the victim had not been White. The Mississippi Supreme Court in 1859 reversed another conviction in the lower-court ruling ofGeorge v. State, a case concerning the rape of a nine-year-old Black girl. George’s attorney argued that “the regulations of law, as to the white race, on the subject of sexual intercourse,","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"29 - 55"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47430058","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}
The spirit here is not one of felicitous or recreative play but of competitive rivalry, the disposition Barabas had already brought into the play even before the extortion of his wealth by the Christian governor of Malta: “We [Jews] have scambled up / More wealth by far than those that brag of faith,” he avers, naming all the wealthy European Jews he knows (1.1.121–22). However, the turn to “wits” and “cunning,”mobilized around the ludic verb “cast” (to throw dice, to cast lots), emphasizes that this act of self-assertion is, in a sense, a playful one, even amid its spitefulness and Barabas’s resolve for revenge. Barabas articulates his desire to recover his wealth and to reassert his standing in Malta in terms of a risky futural projection, consistent with his trade as a merchant venturer with business dealings all over the Mediterranean. In other words, he is a figure of risk, challenging the early modern typology of the Jew in terms of fixity and thrall to the law, and presenting
{"title":"“To Cast with Cunning”; or, Marlowe’s Market Players","authors":"Robert Tinkle","doi":"10.1086/713984","DOIUrl":"https://doi.org/10.1086/713984","url":null,"abstract":"The spirit here is not one of felicitous or recreative play but of competitive rivalry, the disposition Barabas had already brought into the play even before the extortion of his wealth by the Christian governor of Malta: “We [Jews] have scambled up / More wealth by far than those that brag of faith,” he avers, naming all the wealthy European Jews he knows (1.1.121–22). However, the turn to “wits” and “cunning,”mobilized around the ludic verb “cast” (to throw dice, to cast lots), emphasizes that this act of self-assertion is, in a sense, a playful one, even amid its spitefulness and Barabas’s resolve for revenge. Barabas articulates his desire to recover his wealth and to reassert his standing in Malta in terms of a risky futural projection, consistent with his trade as a merchant venturer with business dealings all over the Mediterranean. In other words, he is a figure of risk, challenging the early modern typology of the Jew in terms of fixity and thrall to the law, and presenting","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"1 - 27"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47917298","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}
Renaissance 0486-3739/ 1. In-te Turner, in bridge: Ca 2. Beca Blackfriars addition to is also a ch first folio i cludes a lis have joine from the l 1619 is the was not in The False O the date of One, see B North Car Fresh, and neate matter may with ease be fram’d Out of their Stories, that have oft been nam’d With glory on the Stage . . . What wee present and offer to your view, (Upon their Faiths) the Stage yet never knew.
文艺复兴时期0486-1739/1。在特纳，在桥：Ca 2。Beca Blackfriars除此之外，还有一本第一对开本，其中包括一本1619年的细木工作品。这本书不在《假O》中，日期为一，见B North Car Fresh，整洁的东西可以很容易地从他们的故事中抹去，这些故事经常被认为是舞台上的荣耀。你认为（在他们的信仰下）舞台上有什么礼物和提议，但他们永远不知道。
{"title":"The Virtue of Virginity: Remaking Cleopatra in Elizabeth’s Image in The False One","authors":"Claire Sommers","doi":"10.1086/713982","DOIUrl":"https://doi.org/10.1086/713982","url":null,"abstract":"Renaissance 0486-3739/ 1. In-te Turner, in bridge: Ca 2. Beca Blackfriars addition to is also a ch first folio i cludes a lis have joine from the l 1619 is the was not in The False O the date of One, see B North Car Fresh, and neate matter may with ease be fram’d Out of their Stories, that have oft been nam’d With glory on the Stage . . . What wee present and offer to your view, (Upon their Faiths) the Stage yet never knew.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"101 - 122"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41342697","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}
1 he Tempest’s link to the Americas reaches back to its initial publication. The frontispiece to the play in the 1623 First Folio featured a woodcut of t an indigenous spearfisher, likely drawn from Theodor De Bry’s illustrations to Thomas Hariot’s A Brief and True Report (1588). The storied connection betweenThe Tempest and theNewWorld has endured throughmany criticalmovements in the field.While early historical scholars insisted on an archival relationship to theNewWorld, citingWilliamStrachey’sTrueRepertory of theWrack (afirsthand account of the Sea Venture’s 1609 wreck off the Bermudas) as an influence on the play’s opening shipwreck, postcolonial and New Historicist scholars have preferred to emphasize a more thematic connection to American settlement, seeing in Prospero’s subjugation of the island’s native inhabitants a fable for imperial conquest.More recently, however, scholars have begun to contest the idea that The
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ance 39/ n the opening scene of Titus Andronicus (ca. 1594), the victorious Andronicus clan demands that the Goth queen’s eldest son, Alarbus, be seized, “That we may hew his limbs and on a pile, /Admanes fratrum, sacrifice his flesh / Before this earthly prison” (1.1.100–102; emphasis added). When Tamora’s plea for mercy fails to assuage her captors, Lucius orders his brothers to “make a fire straight, / And with our swords upon a pile of wood / Let’s hew his limbs till they be clean consumed” (1.1.130–32; emphasis added).When the Andronicus sons return a few moments later, Lucius draws attention to the offstage spectacle of smoke rising in the air:
{"title":"Hewers of Wood, Drawers of Gall: The Wooden Economies of Race in Titus Andronicus and Lust’s Dominion","authors":"W. Steffen","doi":"10.1086/712101","DOIUrl":"https://doi.org/10.1086/712101","url":null,"abstract":"ance 39/ n the opening scene of Titus Andronicus (ca. 1594), the victorious Andronicus clan demands that the Goth queen’s eldest son, Alarbus, be seized, “That we may hew his limbs and on a pile, /Admanes fratrum, sacrifice his flesh / Before this earthly prison” (1.1.100–102; emphasis added). When Tamora’s plea for mercy fails to assuage her captors, Lucius orders his brothers to “make a fire straight, / And with our swords upon a pile of wood / Let’s hew his limbs till they be clean consumed” (1.1.130–32; emphasis added).When the Andronicus sons return a few moments later, Lucius draws attention to the offstage spectacle of smoke rising in the air:","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"157 - 181"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48324177","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}
“ o far from being Shakespeare’s masterpiece, the play is most certainly an artistic failure. In several ways the play is puzzling, and disquieting as is snone of the others.” The polemical verdict comes, of course, from T. S. Eliot in an essay that shifts critical attention away from the character of theDanish prince to the “primary problem” ofHamlet the play. For even apart from its textual dilemmas,Hamlet is a drama marked by gaps and enigmas: the prince’s delays in avenging his father’s murder; his persistent moodiness; the question of royal inheritance; the allusions to Catholic purgatory. In Eliot’s account, the problems of Hamlet are the direct result of its method of composition: Shakespeare has superimposed his play onto “much cruder” material, a set of stubbornly unyielding sources from the tale of François Belleforest to Thomas Kyd’s “UrHamlet” and the anonymous dramaDer bestrafte Brudermord, better known in English as Fratricide Punished. Inverting Eliot’s perspective, the purpose of this essay is to examine the Brudermord as an intervention rather than a source, an attempt at responding to the dramatic problems it was once supposed to have caused. Criticism and commentary are one means of addressing the problems ofHamlet, but a parallel form has always been that of creative response and adaptation. As Stephen Orgel notes in a study of two later continental adaptations, “Hamlet is a play, we might say, that frommoment to moment wants completion, calls out for us to fill in the blanks.”Drawing on an English play that itself was in a state of flux and revision,
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his essay will think through the language that we use in narrating histories of race. In doing so, it offers a new way of approaching Thomas t Heywood’s oft-maligned crusade romance, The Four Prentices of London. Heywood’s play is not among those we turn to frequently in our conversations about race, but this essay considers how a narrow canon of early modern “race plays” generates a correspondingly narrow and symbiotically reinforcing understanding of the history of race. Our practice has been to focus on a dozen or so plays featuring a sustained interest in Moors, Jews, and/or characters described as “Black,” or alternatively in figures performing variations of racial masquerade. More often than not, these propensities render Whiteness transparent while locating race almost exclusively aroundmoments of desire and violence. Detached, offhand, or seemingly archaic instances of racial language are dismissed as if there is a kind of threshold that racismmust reach before it is worthy of our attention. This, in turn, contributes to a history of race that obscures the full range of racial thinking and hencemisrepresents the sustainingmodus operandi of racism. In order to recognize the force of everyday racism in early modern drama, we must address the concerns laid out by Peter Erickson and Kim Hall, particularly the necessity to “continue expanding and theorizing the archive of race, seeking out new texts, questions and vocabulary.” At the same time, it is important to
他的文章将仔细思考我们在叙述种族历史时使用的语言。通过这样做，它提供了一种新的方式来处理托马斯·海伍德（Thomas t Heywood）经常被诟病的十字军东征罗曼史《伦敦四兄弟》（The Four Prentices of London）。海伍德的剧本不是我们在谈论种族时经常提到的剧本之一，但本文考虑了早期现代“种族剧”的狭隘经典是如何产生对种族历史的相应狭隘和共生强化的理解的。我们的做法是专注于十几部戏剧，这些戏剧对摩尔人、犹太人和/或被描述为“黑人”的角色产生了持续的兴趣，或者对表演各种种族伪装的人物产生了兴趣。通常情况下，这些倾向使白人变得透明，而种族几乎完全围绕着欲望和暴力的时刻。超然、随意或看似过时的种族语言被认为是种族主义必须达到的一种门槛，才值得我们关注。这反过来又助长了种族史，掩盖了种族思想的全部范围，歪曲了种族主义的持续运作方式。为了认识到早期现代戏剧中日常种族主义的力量，我们必须解决彼得·埃里克森和金·霍尔提出的担忧，特别是“继续扩大种族档案并将其理论化，寻找新的文本、问题和词汇”的必要性
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aissance Drama, volum 6-3739/2020/4802-00 ew experiences are intellectuallymore exhilarating, if alsomore perilous than the apparent discovery of pattern where none was hitherto believed to exist,” writes Maren-Sofie Röstvig. “If pattern is what we want, pattern is what we are bound to find.” What then are we to make of acrostic patterns that emerge, willy-nilly, from the margins of Shakespeare’s (and others’) printed works? Are these patterns to be ascribed to the author(s), and if not, then to whom? Are they false creations, proceeding from the heat-oppressed brains of Baconian crackpots and recreational logologists, or are they ciphers awaiting decryption by the occasional scholar-sleuth? Who “speaks” the marginal acrostic—author, character, text, or reader? Might there be such a thing as an unconscious acrostic, unintended by the playwright but in some sense “really” there? Might an acrostic subliminally affect a reader who does not see it? In this essay, I do not propose definitive answers to these questions. Instead, bracketing authorial intention, I wish to highlight the readerly operation that makes such patterns visible in the first place. I map a phenomenology of ludic reading whose typographical ground is material, yet whose ontology is ultimately indeterminable. This ludic zone allows for authorial intention without being
{"title":"All’s I-L-L That Starts “I’le”: Acrostic Space and Ludic Reading in the Margins of the Early Modern Play-Text","authors":"Andrew Sofer","doi":"10.1086/712102","DOIUrl":"https://doi.org/10.1086/712102","url":null,"abstract":"aissance Drama, volum 6-3739/2020/4802-00 ew experiences are intellectuallymore exhilarating, if alsomore perilous than the apparent discovery of pattern where none was hitherto believed to exist,” writes Maren-Sofie Röstvig. “If pattern is what we want, pattern is what we are bound to find.” What then are we to make of acrostic patterns that emerge, willy-nilly, from the margins of Shakespeare’s (and others’) printed works? Are these patterns to be ascribed to the author(s), and if not, then to whom? Are they false creations, proceeding from the heat-oppressed brains of Baconian crackpots and recreational logologists, or are they ciphers awaiting decryption by the occasional scholar-sleuth? Who “speaks” the marginal acrostic—author, character, text, or reader? Might there be such a thing as an unconscious acrostic, unintended by the playwright but in some sense “really” there? Might an acrostic subliminally affect a reader who does not see it? In this essay, I do not propose definitive answers to these questions. Instead, bracketing authorial intention, I wish to highlight the readerly operation that makes such patterns visible in the first place. I map a phenomenology of ludic reading whose typographical ground is material, yet whose ontology is ultimately indeterminable. This ludic zone allows for authorial intention without being","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"273 - 308"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712102","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47255497","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}
he bella grammaticalia (“grammar wars” or “language wars”) are allegorical works in which parts of speech or rhetorical devices typically face t one another in battle and fight for powerwithin a grammatical kingdom. The development of grammar is thus presented as if it were a human story, with parts of speech motivated to act according to ideas such as tribal loyalty, inheritance, and ancestry. The characters’ experiences of battle are used, comically, to explain the status quo of the grammatical scheme and its rules; irregular nouns and verbs, for instance, are portrayed as wounded veterans who have sustained permanent injuries in the fighting. Leonard Hutten in his Bellum Grammaticale, one of the best-known examples of the genre, lingers on this explanatory scheme with a noteworthy attention to detail:
He Bella grammaticalia(“语法战争”或“语言战争”)是一种讽喻作品，其中的词类或修辞手段通常在战斗中相互对抗，并在语法王国中争夺权力。因此，语法的发展就像一个人类的故事一样被呈现出来，其中的词性是根据诸如部落忠诚、继承和祖先等观念来行动的。人物的战斗经历被滑稽地用来解释语法结构和规则的现状;例如，不规则名词和动词被描述为在战斗中受到永久性伤害的受伤退伍军人。伦纳德·赫顿(Leonard Hutten)在他的《语法之歌》(Bellum Grammaticale)中，这是该流派最著名的例子之一，他在这个解释方案上花了很多时间，并对细节进行了关注:
{"title":"Grammar War Plays in Early Modern England: From Entertainment to Pedagogy","authors":"Tommi Alho, Aleksi Mäkilähde, Elizabeth Sandis","doi":"10.1086/712371","DOIUrl":"https://doi.org/10.1086/712371","url":null,"abstract":"he bella grammaticalia (“grammar wars” or “language wars”) are allegorical works in which parts of speech or rhetorical devices typically face t one another in battle and fight for powerwithin a grammatical kingdom. The development of grammar is thus presented as if it were a human story, with parts of speech motivated to act according to ideas such as tribal loyalty, inheritance, and ancestry. The characters’ experiences of battle are used, comically, to explain the status quo of the grammatical scheme and its rules; irregular nouns and verbs, for instance, are portrayed as wounded veterans who have sustained permanent injuries in the fighting. Leonard Hutten in his Bellum Grammaticale, one of the best-known examples of the genre, lingers on this explanatory scheme with a noteworthy attention to detail:","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"235 - 271"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712371","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728168","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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