This article examines how in The Unnamable the unnamed narrator is caught up in a busy traffic of assemblage(s), ‘moving back and forth of the I’. Beckett places the narrator in a no-place (para-site), metaphorically both as the host and the (un)invited guest – the ‘no-mad’ who (dis)owns the system. The narrator acts, and is simultaneously acted upon. Sometimes it is the (un)invited guest (the outsider), and sometimes the host (the insider). The narrator, therefore, is the ‘it’ (the ‘quasi-object’), reaffirming Serres’ idea that every subject who parasites the other is simultaneously parasited by an-other: thus, moving the system. This curious interplay of host-guest double-bind makes the narrator exi(s)t within movement(s)-in-thought, with possibilities of seeing (para-sight) what Beckett terms as ‘something quite different’.
{"title":"‘Moving back and forth of the I’","authors":"Jagannath Basu, Jayjit Sarkar","doi":"10.3167/cs.2022.340308","DOIUrl":"https://doi.org/10.3167/cs.2022.340308","url":null,"abstract":"This article examines how in The Unnamable the unnamed narrator is caught up in a busy traffic of assemblage(s), ‘moving back and forth of the I’. Beckett places the narrator in a no-place (para-site), metaphorically both as the host and the (un)invited guest – the ‘no-mad’ who (dis)owns the system. The narrator acts, and is simultaneously acted upon. Sometimes it is the (un)invited guest (the outsider), and sometimes the host (the insider). The narrator, therefore, is the ‘it’ (the ‘quasi-object’), reaffirming Serres’ idea that every subject who parasites the other is simultaneously parasited by an-other: thus, moving the system. This curious interplay of host-guest double-bind makes the narrator exi(s)t within movement(s)-in-thought, with possibilities of seeing (para-sight) what Beckett terms as ‘something quite different’.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43575700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this article is to examine how Palestinian American novelist Susan Abulhawa appropriates in her novel The Blue between Sky and Water (2015) some of the themes, tropes and motifs that Shakespeare employs in Romeo and Juliet (c. 1596) in order to depict how wars and conflicts turn Palestinian people’s love stories/marriages into tragedies. In particular, love at first sight, the (negative) impact of families on love stories, exile/banishment, use of herbs/traditional medicine, humour and parties that practically turn ominous and fateful are among the themes, tropes and motifs that both Shakespeare and Abulhawa employ to represent love stories/marriages that are embroiled in ongoing violent events. Overall, in its depiction of ‘love and violence’, Abulhawa’s novel appropriates Shakespeare’s greatest love tragedy and shows the conditions under which Palestinians live in Gaza.
{"title":"Susan Abulhawa’s Appropriation of Shakespeare’s Romeo and Juliet","authors":"Yousef Abu Amrieh","doi":"10.3167/cs.2022.340303","DOIUrl":"https://doi.org/10.3167/cs.2022.340303","url":null,"abstract":"The purpose of this article is to examine how Palestinian American novelist Susan Abulhawa appropriates in her novel The Blue between Sky and Water (2015) some of the themes, tropes and motifs that Shakespeare employs in Romeo and Juliet (c. 1596) in order to depict how wars and conflicts turn Palestinian people’s love stories/marriages into tragedies. In particular, love at first sight, the (negative) impact of families on love stories, exile/banishment, use of herbs/traditional medicine, humour and parties that practically turn ominous and fateful are among the themes, tropes and motifs that both Shakespeare and Abulhawa employ to represent love stories/marriages that are embroiled in ongoing violent events. Overall, in its depiction of ‘love and violence’, Abulhawa’s novel appropriates Shakespeare’s greatest love tragedy and shows the conditions under which Palestinians live in Gaza.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44922565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Harold Bloom’s The Western Canon (1994) and Shakespeare: The Invention of the Human (1999) represent a scholar’s take on a major figure in Western literature, namely, William Shakespeare. All figures, according to Bloom, either converge upon or take their point of departure from Shakespeare in a way that rehabilitates the myth of the Original Englishman and accordingly recreates a Western canon, some universal anthology, whose centre is Shakespeare, while all later generations of writers are, in Elias Canetti’s words, ‘saints of repetition’, who can only translate what they happen to ‘overhear’ from the master and keep vibrant a tradition that can ‘make us at home out of doors, foreign abroad’. Though Bloom hardly uses the term ‘translation’ while tracking the genealogy of such ‘influence’ and the ‘anxieties’ therein implicated, one can readily detect a Gordian knot out of which such theorisations and explorations emanate: translation is here foregrounded as a smokescreen designed to close rather than disclose.
{"title":"Harold Bloom and William Shakespeare","authors":"Taoufiq Sakhkhane","doi":"10.3167/cs.2022.340301","DOIUrl":"https://doi.org/10.3167/cs.2022.340301","url":null,"abstract":"Harold Bloom’s The Western Canon (1994) and Shakespeare: The Invention of the Human (1999) represent a scholar’s take on a major figure in Western literature, namely, William Shakespeare. All figures, according to Bloom, either converge upon or take their point of departure from Shakespeare in a way that rehabilitates the myth of the Original Englishman and accordingly recreates a Western canon, some universal anthology, whose centre is Shakespeare, while all later generations of writers are, in Elias Canetti’s words, ‘saints of repetition’, who can only translate what they happen to ‘overhear’ from the master and keep vibrant a tradition that can ‘make us at home out of doors, foreign abroad’. Though Bloom hardly uses the term ‘translation’ while tracking the genealogy of such ‘influence’ and the ‘anxieties’ therein implicated, one can readily detect a Gordian knot out of which such theorisations and explorations emanate: translation is here foregrounded as a smokescreen designed to close rather than disclose.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":"159 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41271818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many of Erasmus of Rotterdam’s works were translated into English during the reign of Henry VIII. In the process of translation, the original intention of these texts was often subverted, as Erasmus’s reputation was appropriated by his translators and their patrons to serve a variety of political and religious agendas. The present article is devoted to the translating history of one of Erasmus’s works, Sileni Alcibiadis, a proverb that was detached from the huge paremiographic repository known as Adagia and published as an autonomous work in London in the early 1540s. By highlighting corrections, retouchings and omissions, the article aims at pointing out the ways in which the anonymous translator adapted Erasmus’s text to a different cultural and pedagogic context. The final purpose of this work is to show the way in which Erasmus’s political thought ‘migrates’, with partial manipulations, into the turbulent context of mid-sixteenth-century England.
{"title":"‘A Scorneful Image of this Present World’","authors":"L. Baratta","doi":"10.3167/cs.2022.340307","DOIUrl":"https://doi.org/10.3167/cs.2022.340307","url":null,"abstract":"Many of Erasmus of Rotterdam’s works were translated into English during the reign of Henry VIII. In the process of translation, the original intention of these texts was often subverted, as Erasmus’s reputation was appropriated by his translators and their patrons to serve a variety of political and religious agendas. The present article is devoted to the translating history of one of Erasmus’s works, Sileni Alcibiadis, a proverb that was detached from the huge paremiographic repository known as Adagia and published as an autonomous work in London in the early 1540s. By highlighting corrections, retouchings and omissions, the article aims at pointing out the ways in which the anonymous translator adapted Erasmus’s text to a different cultural and pedagogic context. The final purpose of this work is to show the way in which Erasmus’s political thought ‘migrates’, with partial manipulations, into the turbulent context of mid-sixteenth-century England.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45704884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Nashe’s’ satirical ‘ten thousand’ attendees at a London performance exaggeration is similarly absurd to most previous studies of audience size during the British Renaissance. These claims are countered in this article with a realistic calculation of the maximum quantity of people the described dimensions of the licensed London theatres could have accommodated. Claims that a troupe could have seen peak sales when it was forced to close during a plague are also reconsidered. And the failure of the English dramatic genre to reach its neighbouring Welsh market is questioned as indicative of the rarity of this mode of entertainment in comparison with the popularity claimed for it in puffing self-reviews of plays in the first post-origin decades. The ease with which a false belief in popularity could be generated is consistent with the Ghostwriting Workshop’s self-promotion of their published books. This article pulls together pieces of evidence to explain the literary, fiscal and political misdeeds committed by this Workshop in their quest for profit and fame.
{"title":"Manipulation of Theatrical Audience Size","authors":"A. Faktorovich","doi":"10.3167/cs.2022.340306","DOIUrl":"https://doi.org/10.3167/cs.2022.340306","url":null,"abstract":"Thomas Nashe’s’ satirical ‘ten thousand’ attendees at a London performance exaggeration is similarly absurd to most previous studies of audience size during the British Renaissance. These claims are countered in this article with a realistic calculation of the maximum quantity of people the described dimensions of the licensed London theatres could have accommodated. Claims that a troupe could have seen peak sales when it was forced to close during a plague are also reconsidered. And the failure of the English dramatic genre to reach its neighbouring Welsh market is questioned as indicative of the rarity of this mode of entertainment in comparison with the popularity claimed for it in puffing self-reviews of plays in the first post-origin decades. The ease with which a false belief in popularity could be generated is consistent with the Ghostwriting Workshop’s self-promotion of their published books. This article pulls together pieces of evidence to explain the literary, fiscal and political misdeeds committed by this Workshop in their quest for profit and fame.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42621204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Vinegar Girl, a 2016 fictional adaptation of The Taming of the Shrew, Anne Tyler exhibits an ambivalent treatment of the female predicaments left by William Shakespeare: while she invests her modern version of Katherina with linguistic and intellectual independence emblematic of female resistance to patriarchal disciplines, she somehow acquiesces in the fixed familial place and the stereotypical images of women in the monolithic patriarchal system. When the novel was introduced into the Chinese mainland in 2017, the Chinese publisher, out of commercial concerns, advertised it as a highly feminist text through the delicate manipulation of the translation of its title and a series of paratextual manoeuvres, to the detriment of the novel’s ambiguous complexities of gender issues. The marketing strategies nevertheless backfired on one of China’s social media platforms and rendered the novel a relatively ‘failed’ feminist text against China’s unique market and media background in the last decade.
{"title":"‘Failed Feminism’","authors":"Ying Duan, Junwu Tian","doi":"10.3167/cs.2022.340305","DOIUrl":"https://doi.org/10.3167/cs.2022.340305","url":null,"abstract":"In Vinegar Girl, a 2016 fictional adaptation of The Taming of the Shrew, Anne Tyler exhibits an ambivalent treatment of the female predicaments left by William Shakespeare: while she invests her modern version of Katherina with linguistic and intellectual independence emblematic of female resistance to patriarchal disciplines, she somehow acquiesces in the fixed familial place and the stereotypical images of women in the monolithic patriarchal system. When the novel was introduced into the Chinese mainland in 2017, the Chinese publisher, out of commercial concerns, advertised it as a highly feminist text through the delicate manipulation of the translation of its title and a series of paratextual manoeuvres, to the detriment of the novel’s ambiguous complexities of gender issues. The marketing strategies nevertheless backfired on one of China’s social media platforms and rendered the novel a relatively ‘failed’ feminist text against China’s unique market and media background in the last decade.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41566941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Liturgies are communal in nature, and in the context of the medieval Christian economy of time they are developed and utilised to quantify, consecrate, control, utilise and unify time for the comprehensive end of the welfare of the society, both in the Here and in the Here-after. The liturgy was a social institution, and functioned for anniversaries, holy days, holidays and rituals that were the means of medieval social integrity. In the economy of socio-political and ethical life, the medieval Church linked the sacred to the secular by means of the liturgy. They were used for meditation, as well as a measurement of time, and arguably they were manipulated to parody or satirise the strictly hierarchal estates of the medieval society. Though one of the least liturgical books of his time, Chaucer’s Canterbury Tales is framed by the liturgical institution of the pilgrimage. Actually a pilgrim travelogue, it depicts the secularisation of liturgy and its appropriation for social control, and paradoxically, a carnivalesque celebration of the reversal of social hierarchy.
{"title":"Liturgical Time in Chaucer’s Canterbury Tales","authors":"","doi":"10.3167/cs.2021.340104","DOIUrl":"https://doi.org/10.3167/cs.2021.340104","url":null,"abstract":"Liturgies are communal in nature, and in the context of the medieval Christian economy of time they are developed and utilised to quantify, consecrate, control, utilise and unify time for the comprehensive end of the welfare of the society, both in the Here and in the Here-after. The liturgy was a social institution, and functioned for anniversaries, holy days, holidays and rituals that were the means of medieval social integrity. In the economy of socio-political and ethical life, the medieval Church linked the sacred to the secular by means of the liturgy. They were used for meditation, as well as a measurement of time, and arguably they were manipulated to parody or satirise the strictly hierarchal estates of the medieval society. Though one of the least liturgical books of his time, Chaucer’s Canterbury Tales is framed by the liturgical institution of the pilgrimage. Actually a pilgrim travelogue, it depicts the secularisation of liturgy and its appropriation for social control, and paradoxically, a carnivalesque celebration of the reversal of social hierarchy.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42990247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Even though Iris Murdoch’s novels depict a profoundly patriarchal society, most scholars have generally failed to identify any feminist aspirations in her work. This article aims to reassess her legacy as a writer by analysing from a feminist perspective one of her most acclaimed novels, The Sea, The Sea (1978). The tension between the androcentric approach of a self-deluded male narrator and a female author whose worldview is strongly influenced by her gender results in a feminist critique which is not based on the recovery of a female voice, but on the exploration of patriarchy within the novel and the production of a feminist epistemology derived from a dialogue between Murdoch’s fiction and philosophy.
{"title":"Romantic Love, Gender Imbalance and Feminist Readings in Iris Murdoch’s The Sea, The Sea","authors":"","doi":"10.3167/cs.2021.340103","DOIUrl":"https://doi.org/10.3167/cs.2021.340103","url":null,"abstract":"Even though Iris Murdoch’s novels depict a profoundly patriarchal society, most scholars have generally failed to identify any feminist aspirations in her work. This article aims to reassess her legacy as a writer by analysing from a feminist perspective one of her most acclaimed novels, The Sea, The Sea (1978). The tension between the androcentric approach of a self-deluded male narrator and a female author whose worldview is strongly influenced by her gender results in a feminist critique which is not based on the recovery of a female voice, but on the exploration of patriarchy within the novel and the production of a feminist epistemology derived from a dialogue between Murdoch’s fiction and philosophy.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I consider ‘strangeness’ as a performative phenomenon directly related to the experimental multiperspectivity of the early Stuart stage. As such, it is not a quality ascribed to individual characters, but the norm ruling interactions between them: all characters are strangers to each other. This constellation drives theatrical agon and suspense, turning spectators into privileged witnesses to an all-encompassing strangeness of which characters are often unaware. This theatrical take on strangeness supplements and potentially undercuts contextual and thematic explanations of the early modern stage’s fascination with the odd and exotic. Thus in John Fletcher’s The Island Princess (1621), the conflict between Christianity and Islam ostensibly depicted in this tragicomedy is challenged, if not superseded, by a more existential and ubiquitous notion of strangeness at the play’s core.
我认为“奇怪”是一种与早期斯图尔特阶段的实验多视角直接相关的表演现象。因此，这不是一种归因于单个角色的品质，而是它们之间互动的规范：所有角色彼此都是陌生人。这个星座推动了戏剧化的潮流和悬念，将观众变成了一种包罗万象的陌生感的特权见证者，而角色们往往对此一无所知。这种对奇异性的戏剧化处理补充并可能削弱现代早期舞台对奇异和异国情调的迷恋的上下文和主题解释。因此，在约翰·弗莱彻（John Fletcher）的《岛上公主》（The Island Princess，1621）中，这部悲喜剧表面上描绘的基督教和伊斯兰教之间的冲突，如果不是被一种更存在主义、更普遍的戏剧核心陌生感所取代，也是受到了挑战。
{"title":"Putting Strangeness in Perspective","authors":"Anja Müller-Wood","doi":"10.3167/cs.2022.340206","DOIUrl":"https://doi.org/10.3167/cs.2022.340206","url":null,"abstract":"I consider ‘strangeness’ as a performative phenomenon directly related to the experimental multiperspectivity of the early Stuart stage. As such, it is not a quality ascribed to individual characters, but the norm ruling interactions between them: all characters are strangers to each other. This constellation drives theatrical agon and suspense, turning spectators into privileged witnesses to an all-encompassing strangeness of which characters are often unaware. This theatrical take on strangeness supplements and potentially undercuts contextual and thematic explanations of the early modern stage’s fascination with the odd and exotic. Thus in John Fletcher’s The Island Princess (1621), the conflict between Christianity and Islam ostensibly depicted in this tragicomedy is challenged, if not superseded, by a more existential and ubiquitous notion of strangeness at the play’s core.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47929455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article asserts that in Much Ado About Nothing Shakespeare lays open the rottenness within an arbitrary system of government but does not dare carry the plot to its logical conclusion. The responses to events by the dominant nobles, a prince and a count, are not merely foolish and damaging, but, in light of the guidance of, among others, Girolamo Muzio and Baldassare Castiglione, deeply dishonourable. The playmakers, as the most talented team in the realm licensed for performance entertainment, create a historically credible set of characters, but, possibly because they wish to continue to benefit from their protected status and draw their regular customers, do not make explicit any radical questioning of rank and degree. An analysis of Margaret’s role suggests a strategic ambiguity within the jocular ending.
{"title":"Fudging the Outcome of Much Ado About Nothing","authors":"","doi":"10.3167/cs.2021.340105","DOIUrl":"https://doi.org/10.3167/cs.2021.340105","url":null,"abstract":"This article asserts that in Much Ado About Nothing Shakespeare lays open the rottenness within an arbitrary system of government but does not dare carry the plot to its logical conclusion. The responses to events by the dominant nobles, a prince and a count, are not merely foolish and damaging, but, in light of the guidance of, among others, Girolamo Muzio and Baldassare Castiglione, deeply dishonourable. The playmakers, as the most talented team in the realm licensed for performance entertainment, create a historically credible set of characters, but, possibly because they wish to continue to benefit from their protected status and draw their regular customers, do not make explicit any radical questioning of rank and degree. An analysis of Margaret’s role suggests a strategic ambiguity within the jocular ending.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49634215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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