Journal of graphic novels & comics最新文献

{"title":"“There’s always that hope”: an interview with Terri Libenson","authors":"Vera J. Camden, Valentino L. Zullo","doi":"10.1080/21504857.2023.2276691","DOIUrl":"https://doi.org/10.1080/21504857.2023.2276691","url":null,"abstract":"ABSTRACTIn Summer 2023, we sat down with Terri Libenson, New York Times bestselling author of The Pajama Diaries and the Emmie and Friends series. She shared with us a bit about her early interest in comics, her journey into comics-making, and the difference in her readers as a comic strip creator, and a middle-grade cartoonist. Together we think about what it is about the form that lends itself so well to processing traumatic experiences in a way that can be both creative and therapeutic. We also discussed her process, what she’s currently reading, and we hear a little about her upcoming work and what she still wants to do in her series.KEYWORDS: Girlsmiddle-gradetherapypsychologythought bubble Disclosure statementNo potential conflict of interest was reported by the authors.Notes1. For more about PJ Library, see pjlibrary.org.2. James Ellis, ‘How J.K. Rowling Created Harry Potter,’ in Newsweek Special Edition, The Wizarding World of Harry Potter, October 16, Citation2016, https://www.newsweek.com/how-jk-rowling-created-harry-potter-5100423. Austen played the same game when she attended an exhibition of paintings by Sir Joshua Reynolds at the Royal Academy at Somerset House. ‘Mrs. Darcy’ once again proved elusive. A disappointed Austen told Cassandra that ‘I can only imagine that Mr D. prizes any Picture of her too much to like it should it be exposed to the public eye.’ Darcy, she believed, would regard Elizabeth with a mixture of ‘Love, Pride & Delicacy.’ Meredith Hindley, ‘The Mysterious Miss Austen,’ Humanities 34, no. 1 (Citation2013), https://www.neh.gov/humanities/2013/januaryfebruary/feature/the-mysterious-miss-austen4. See Vera J. Camden, ‘The thought bubble and its vicissitudes in contemporary comics,’ American Imago 77, no. 3 (Citation2020): 603–638.5. Hillary Chute and Patrick Jagoda, eds., ‘Comics & Media,’ Critical Inquiry 40, no. 3 (Citation2014).6. Camden, Vera J., and Valentino L. Zullo. “‘I don’t know how to process experiences unless I put them into comics’: an interview with Raina Telgemeier.” Journal of Graphic Novels and Comics (Citation2023): 1-22.","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392374","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}

{"title":"Your translated memory or mine? re-membering graphic novels in performed audio descriptions for the cartoon museum, London","authors":"Dimitris Asimakoulas","doi":"10.1080/21504857.2023.2277382","DOIUrl":"https://doi.org/10.1080/21504857.2023.2277382","url":null,"abstract":"This article offers a practical and theoretical exploration of a (highly) specialised type of comics re-mediation, namely, audio described (AD) comics for the Blind and Partially Sighted (BPS). Building on relevant work in comics studies and translation studies, it is argued that translation activity, broadly seen to include interlingual as well as intersemiotic translation (Jakobson 1959), helps rewrite original works. Translation is defined as a blend, or a hybrid mental space combining characteristics of source and target contexts. As such, it entails the imbrication of personal memory, collective memory and the diffusion of a translator’s memory in linguistic codes, social milieus, textual traditions and digital capabilities at play. AD exhibits the same blend logic in that it selectively contains visual source-text information in target-text audio performance. An exploratory comics AD pilot project at The Cartoon Museum (London) serves as an exemplar. The project consists of three phases: a focused interview with the creative team (describer, curator, comic artists); scripting and performance of three AD samples; and collecting feedback from BPS visitors. The project reveals how collective memory started to form in this dialogic process and, ultimately, which aspects of AD practice may be deemed to be effective.","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135221274","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}

{"title":"“I don’t know how to process experiences unless I put them into comics”: an interview with Raina Telgemeier","authors":"Vera J. Camden, Valentino L. Zullo","doi":"10.1080/21504857.2023.2271092","DOIUrl":"https://doi.org/10.1080/21504857.2023.2271092","url":null,"abstract":"","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"11 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134907135","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}

{"title":"Elucidating petroleum affinity in modern car culture through <i>Monster Motors</i>","authors":"Shrabanee Khatai, Seema Kumari Ladsaria","doi":"10.1080/21504857.2023.2265456","DOIUrl":"https://doi.org/10.1080/21504857.2023.2265456","url":null,"abstract":"ABSTRACTThe present research aims at tracing the human-machine interaction and interpersonal relationship in the substantial realm of modern car culture with a focus on human beings’ dependency on cars as petro-products through Monster Motors (2015) by Brian Lynch and Nick Roche. With allusions to maestros of horror viz. Frankenstein and Dracula, this comic details the adventures of ace mechanic Vic Frankenstein and his android assistant IGOR against the vampire car Cadillacula which sucks gasoline out of other cars. In his triangular theory of love, proposes three components of love, viz. Intimacy, passion, and commitment. Modern car culture manifests in people’s love for cars. Thus, this research is an attempt to showcase people’s affinity with cars as an implication of their affinity with petroleum through Sternberg’s three components of love. Thus, the research establishes the aggressive consumption of petroleum used in cars as a derivative of Sternberg’s passion component and machine-intimacy of humans as a synonym of petro-intimacy based on intimacy component. Subsequently, the research investigates the decision/commitment component of Sternberg in relation to understanding humans’ determination for cars/petro-products. Here, it scrutinises that petro-horror- an attempt to represent oil’s increasing ubiquity (Tulsi 2020, 159–181) – is a conscious choice that humans make in promoting the car culture.KEYWORDS: Theory of lovemodern car culturepetro-horrorpetro-passionpetro-products Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The modern car was invented by Carl Benz in 1886.2. After World War II, suburban communities were set up in America when soldiers returned to their native soil. With the creation of the interstate highway system of 1956 and the surge of the post-war economy, mass production and consumption of cars were evident during the 1950s.3. In Republic of Drivers: A Cultural History of Automobility in America (Citation2009), Cotton Seiler reflects on the American perception of identity construction around cars with a focus on the U.S. automotive industry from 1895 to 1961.4. Petroculture/oil culture is the normative everyday culture which according to Ross Barnett and Daniel Worden (Citation2014), is the ‘broad field of cultural representations and symbolic forms that have taken shape around the fugacious material of oil in the 150 years since the inception of the US petroleum industry’ (269).5. From 1938 to 1956, the publication of various types of comics viz. Superhero comics, detective comics, action comics, adventure comics, sci-fi comics etc. led to the increasing popularity of comics in America. Thus, this period is known as the golden age of comic books.6. Mark Towle was an American car mechanic who used to sell replicas of cars used in the Batman series. After DC Comics filed a copyright infringement case against him, in 2015, the United States Court of Appeals, Ninth Circuit ap","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135740116","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}

{"title":"On talking birds and jelly donuts: tracking new developments in Israeli comics","authors":"Matt Reingold","doi":"10.1080/21504857.2023.2264955","DOIUrl":"https://doi.org/10.1080/21504857.2023.2264955","url":null,"abstract":"ABSTRACTThis article examines two recent Israeli webcomics and explores how each has introduced new modes of graphic communication in Israeli comics. Both are rooted in the Israeli cultural milieu but they reject the forms and substance traditionally associated with Israeli comics and graphic novels. In particular, I analyse Barlev’s use of anthropomorphism and Nachmany’s use of superhero parody in order to offer novel critiques of Israeli society while also expanding the range and scope of the Israeli comic book and graphic narrative marketplace. I conclude the article by offering a tentative assessment of what it is about webcomics that has facilitated both of these works and how Nachmany’s and Barlev’s popularity can lead to future novel expressions in Israeli comics.KEYWORDS: Webcomicsanthropomorphismsuperhero parodyIsraelIsraeli comics Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. A sufganiya is a fried donut that is filled with jam, custard, or chocolate, and is eaten on the Jewish holiday of Hanuka.2. By calling attention to the dominant tropes, I do not mean to denigrate them or the skills of the authors and illustrators, nor am I suggesting that more recent works are derivative of earlier ones. I am merely pointing out what has become, in most cases, the nature of Israeli graphic novels.3. One noteworthy exception is Tamar Blumenfeld’s (Citation2017) In A Relationship which details the sexual dalliances of a contemporary fictional Israeli woman and her difficulties entering a meaningful relationship.4. It must be said that the same does not hold true for Israeli political cartoons where fantasy and science fiction elements routinely feature. See Reingold (Citation2022), Reenvisioning Israel through Political Cartoons.5. Following national elections in November 2022, Israel’s prime minister Benjamin Netanyahu formed a coalition with like-minded parties and they were sworn-in on December 29. Netanyahu’s government was composed of two ultra-Orthodox parties – Shas and United Torah Judaism (UTJ) – and the right-wing nationalist Religious Zionist Party. By early January 2023, the coalition began implementing a comprehensive legal reform put forward by Yariv Levin, the Minister of Justice, and Simcha Rothman, the chair of the Constitution, Law and Justice committee. At its core, the legal reform sought to limit judicial power by hindering the Supreme Court’s ability to challenge legislative decisions made by the government. Beginning in January 2023, and continuing through the summer, nation-wide protests have occurred on a weekly basis, with hundreds of thousands of Israelis gathering to protest the judicial reforms. Despite the opposition, the overhaul was advanced, with the first phase passed in July 2023 wherein the Supreme Court was stripped of its judicial right to strike down a passed law on the grounds of reasonableness despite over 70 years of being permitted to do so.6. When she posts to ","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136341954","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}

{"title":"Stylistic co-existence and the chronotope in <i>Stone Fruit</i> and <i>onwards towards our noble deaths</i>","authors":"Gareth Brookes","doi":"10.1080/21504857.2023.2262001","DOIUrl":"https://doi.org/10.1080/21504857.2023.2262001","url":null,"abstract":"ABSTRACTIn this essay, I will examine the co-existence of different styles of drawing in Stone Fruit by Lee Lai (Lai, 2021). I will argue that this graphic novel uses two styles of drawing to produce different space times which can be better understood through a discussion of Bakhtin’s idea of the Chronotope. (Bakhtin 2011) I will compare this use of drawing to the drawing styles present in Onwards Towards Our Noble Deaths by Shigeru Mizuki (Mizuki and Allen, 2011) and argue that these comics use style to activate different chronotopic space times in order to deepen the reader's understanding of the interpersonal relationships between characters. I will consider the implications for both the drawn and drawing body in these comics, in the context of the history of naturalistic forms of representational drawing in manga and the practice of genre-splicing and ‘swiping’ in alternative comics. I will examine ways in which the movement between two styles of drawing form a structuring element of these narratives and argue that this movement is essential to communicating the meaning of these comics.KEYWORDS: Narrative drawing theorydrawing stylechronotopesgraphic novelsmanga Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135719195","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}

{"title":"In the gutters of grief and shame: drawing displacement in Kim Suk Gendry-Kim’s <i>Grass</i>","authors":"Stella Oh","doi":"10.1080/21504857.2023.2260452","DOIUrl":"https://doi.org/10.1080/21504857.2023.2260452","url":null,"abstract":"ABSTRACTThis essay explores the haunting shadows of coloniality through the lens of shame and grief. Highlighting the graphic novel Grass by Keum Suk Gendry-Kim, I trace the diasporic linkages between gendered violence, colonial amnesia, and the patriarchal silencing of the stories of ‘comfort women.’ I argue that the search for legibility and homecoming trouble shame, grief, and memory. Shame and the female body play a central role in the narrative and visual framework of Gendry-Kim’s graphic novel. It challenges us to reconsider our understanding of history by engaging with shame that disrupts history. Such alternative archives of memory are important in that they articulate exclusions that frame history, documenting stories about home, diaspora, displacement, and their aftereffects from the vantage point of women who are relegated to the haunting shadows left by the legacies of war.KEYWORDS: Gendered violencecomfort womengraphic novelshamegrief Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Keum-Suk Gendry-Kim (Citation2019), Grass, 8.2. Theresa Hak Kyung Cha, Dictee, 33.3. The transgenerational trauma experienced by ‘comfort women’ during WWII reverberates to the camptown (kijichon) women of the Cold War era. Referred to as ‘the women in the shadows’ both comfort women and camptown women who were involved in state sanctioned military prostitution highlighting misogyny and patriarchy. Patriarchal structures during and after WWII manipulated history and displaced and erased the bodies of these women in the name of nationalism. See J. T. Takagi and Hye Jung Park (Citation1995), The Women Outside; Ji – Yeon Yuh (Citation2002), Beyond the Shadow of Camptown; Chunghee Sarah Soh (Citation2008), The Comfort Women; and Katharine Hyung-Sun Moon (Citation1997), Sex Among Allies.4. Gendry-Kim, 17.5. Gendry-Kim, 16.6. Cha, 33.7. Ibid.8. Gendry-Kim, 16.9. Joseph Roach, Cities of the Dead, 55.10. Cha, 33.11. Avery Gordon (Citation1997), Ghostly Matters, 205.12. Other notable works featured in this exhibit were ‘Oribal Nipponno’ by cartoonist Lee Hyun-se; ‘The Song of a Butterfly’ by artists Kim Gwant0sung and Jeong Ki-young; ‘The Flower Ring’ by Tak Young-ho; and ‘The Spring of a 14-year-old Girl’ by artists Oh Se-yeong. Videos including director Kim Jun-ki’s ‘A Girl’s Tale’ and ‘The Unfinished Story’ were also screened.13. Gendry-Kim’s interview with the author. August 12, 2023.14. Ibid.15. Ibid.16. See Susannah Ketchum Glass, ‘Witnessing the Witness’17. See Joseph Roach, Cities of the Dead.18. Golnar Nabizadeh, Representation and Memory in Graphic Novels, 3.19. Gendry-Kim, 143.20. Hillary Chute (Citation2015), Graphic Women, 5.21. See Ann Laura Stoler (Citation2016), Duress: Imperial Durabilities in Our Times.22. Gendry-Kim, 479.23. Edouard Glissant (Citation1997), Poetics of Relation, 11.24. Marianne Hirsh (Citation2012), The Generation of Postmemory, 15.25. Hillary Chute, Graphic Women, 201.26. Keum Suk Gendr","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135966153","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}

{"title":"The space of ‘betwixt and between’: liminality and activism in Keum Suk Gendry-Kim’s Grass(2019)","authors":"Khushboo Verma, Nagendra Kumar","doi":"10.1080/21504857.2023.2254846","DOIUrl":"https://doi.org/10.1080/21504857.2023.2254846","url":null,"abstract":"ABSTRACTThe concept of liminality is fundamentally borrowed from anthropology to explore its application in literary and cultural studies, which remains largely understudied to this date. Liminality essentially signifies a state of in-betweenness characterised by significant factors, such as uncertainty, ambiguity, anxiety, loss of previous values, identity-crisis, isolation and dilemma. The present paper intends to investigate the tropes of liminality in the graphic novel as well as its application to understand the process of transformation of the protagonist as expressed through grids, gutters and panels by employing Victor Turner’s ‘Theory of Liminality’. Further, the later part is dedicated to explore the silhouettes of activism using Turner’s concept of ‘anti-structure’, through the theme of vegetation visible throughout the novel. The present work not only attempts to trace the liminality of the protagonist in Gendry-Kim’s Grass(2019) but also ventures into establishing the liminal status of the genre of graphic novel itself. The study, thus, presents us an opportunity to explore one of the aggressively silenced and traumatic histories of ‘comfort women issue’ through the lens of Gendry-Kim’s recently published graphic novel Grass(2019).KEYWORDS: LiminalityVictor turneranti-structuregraphic novelsexual violencetrauma Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134970102","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}

{"title":"Comics Anthropocenes: visualizing multiple space-times in Anglophone speculative comics","authors":"Mike Classon Frangos","doi":"10.1080/21504857.2023.2253897","DOIUrl":"https://doi.org/10.1080/21504857.2023.2253897","url":null,"abstract":"Comics and graphic novels have not typically been foregrounded in accounts of Anthropocene fictions. This article argues that speculative comics are particularly suited to visualizing the Anthropocene through their verbal-visual strategies for representing multiple scales of space and time. Defined as the era in which human-driven processes have become detectable in the Earth’s geological record, the concept of the Anthropocene has also been challenged by postcolonial and Indigenous theorists for presuming an undifferentiated humanity responsible for ecological crises. Speculative comics offer strategies for representing multiple scales of space and time that call into question the ‘human’ as a geological force. While autobiographical and documentary comics represent the scale of individual human experience, speculative comics feature nonhuman spaces and times on multiple, asynchronous scales. This article first contextualizes the representation of space and time in speculative Anglophone comics from early superhero comics to the contemporary period, then focusing on three case studies drawn from contemporary Anglophone comics: Grant Morrison and Chris Burnham’s Nameless (Citation2015), Warren Ellis and Jason Howard’s Trees (2014–2016, 2020), and Ram V and Filipe Andrade’s The Many Deaths of Laila Starr (2021).","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136071450","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}

{"title":"The framing of subjectivity: Point-of-view in a cross-cultural analysis of comics.","authors":"Neil Cohn,&nbsp;Irmak Hacımusaoğlu,&nbsp;Bien Klomberg","doi":"10.1080/21504857.2022.2152067","DOIUrl":"https://doi.org/10.1080/21504857.2022.2152067","url":null,"abstract":"<p><p>In visual narratives like comics, the most overt form of perspective-taking comes in panels that directly depict the viewpoints of characters in the scene. We therefore examined these subjective viewpoint panels (also known as point-of-view panels) in a corpus of over 300 annotated comics from Asia, Europe, and the United States. In line with predictions that Japanese manga use a more 'subjective' storytelling style than other comics, we found that more manga use subjective panels than other comics, with high proportions of subjective panels also found in Chinese, French, and American comics. In addition, panels with more 'focal' framing, i.e. micro panels showing close ups and/or amorphic panels showing views of the environment, had higher proportions of subjective panels than panels showing wider views of scenes. These findings further show that empirical corpus analyses provide evidence of cross-cultural variation and reveal relationships across structures in the visual languages of comics.</p>","PeriodicalId":73761,"journal":{"name":"Journal of graphic novels & comics","volume":"14 3","pages":"336-350"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/be/9a/RCOM_14_2152067.PMC10259188.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10194605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}