Abstract:Qu’est-ce qu’une rumeur et d’où tient-elle son pouvoir ou son contre-pouvoir ? En lisant de près des sources gréco-romaines (Platon, Aristote, Eschine, Virgile) et des approches modernes, il s’agit ici d’analyser le mode de propagation de la rumeur (par anaphores et cataphores), ses vitesses contrastées (ses hétérochronies) ainsi que ses relais et représentations au sein d’un médium. En dialogue avec l’ouvrage récent que Catherine Malabou a consacré à l’anarchie, on propose l’hypothèse que la rumeur est à la fois un archimédium (un médium d’avant les médias) et un anarchimédium (un médium qui porte tout médium à ses limites).
{"title":"La rumeur, ou l’anarchimédium","authors":"Peter Szendy","doi":"10.1353/mln.2022.0055","DOIUrl":"https://doi.org/10.1353/mln.2022.0055","url":null,"abstract":"Abstract:Qu’est-ce qu’une rumeur et d’où tient-elle son pouvoir ou son contre-pouvoir ? En lisant de près des sources gréco-romaines (Platon, Aristote, Eschine, Virgile) et des approches modernes, il s’agit ici d’analyser le mode de propagation de la rumeur (par anaphores et cataphores), ses vitesses contrastées (ses hétérochronies) ainsi que ses relais et représentations au sein d’un médium. En dialogue avec l’ouvrage récent que Catherine Malabou a consacré à l’anarchie, on propose l’hypothèse que la rumeur est à la fois un archimédium (un médium d’avant les médias) et un anarchimédium (un médium qui porte tout médium à ses limites).","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"17 1","pages":"755 - 775"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81999876","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 emphasis on German Realism in Erica Weitzman’s erudite study, At the Limit of the Obscene: German Realism and the Disgrace of Matter, belies the theoretical and temporal potential of its insight. Throughout her book, Weitzman excavates the absence of the material world in realist modes of representation and thereby challenges the anthropocentrism they promulgate, not only in nineteenth-century German realism but also its reverberations in naturalism, modernism, and in the present day. Though the readings in the first half traverse canonical realists (Stifter, Freytag, Fontane), the second half of the book widens its scope beyond typical periodizing confines and traditions to show how naturalist and modernist writers (Holz, Benn, Kafka) have inherited and grappled with the same concerns that plagued their predecessors. In keeping one analytical foot in the traditional modes of German realism while extending the other into new territory, Weitzman innovates the scholarly paradigm for how we address and interrogate a wide variety of contemporary entanglements with the multivalent notion of materiality. Furthermore, At the Limit of the Obscene approaches from two methodological perspectives: one from within the canon of German realism, and one looking back retrospectively, observing, and searching for what’s been excluded and rendered obscene by the conventions of literary history. Weitzman shows that
{"title":"At the Limit of the Obscene: German Realism and the Disgrace of Matter by Erica Weitzman (review)","authors":"Brad Harmon","doi":"10.1353/mln.2022.0043","DOIUrl":"https://doi.org/10.1353/mln.2022.0043","url":null,"abstract":"The emphasis on German Realism in Erica Weitzman’s erudite study, At the Limit of the Obscene: German Realism and the Disgrace of Matter, belies the theoretical and temporal potential of its insight. Throughout her book, Weitzman excavates the absence of the material world in realist modes of representation and thereby challenges the anthropocentrism they promulgate, not only in nineteenth-century German realism but also its reverberations in naturalism, modernism, and in the present day. Though the readings in the first half traverse canonical realists (Stifter, Freytag, Fontane), the second half of the book widens its scope beyond typical periodizing confines and traditions to show how naturalist and modernist writers (Holz, Benn, Kafka) have inherited and grappled with the same concerns that plagued their predecessors. In keeping one analytical foot in the traditional modes of German realism while extending the other into new territory, Weitzman innovates the scholarly paradigm for how we address and interrogate a wide variety of contemporary entanglements with the multivalent notion of materiality. Furthermore, At the Limit of the Obscene approaches from two methodological perspectives: one from within the canon of German realism, and one looking back retrospectively, observing, and searching for what’s been excluded and rendered obscene by the conventions of literary history. Weitzman shows that","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"1 1","pages":"601 - 605"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79772130","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}
In Diego Velázquez’ Gemälde Las Meninas (1656) wird Michel Foucault zufolge das Modell der Repräsentation als die Gleichzeitigkeit einer „invisibilité profonde“ („essentiellen Unsichtbarkeit“) erklärbar („Les Suivantes“ 493).1 Sichtbar im Bild seien nur die auf die Leerstelle der Souveränität verweisenden Zeichen: der hinter der Leinwand hervorblickende Künstler selbst, ein Spiegel an der Rückwand des Raumes, in dem König und Königin schemenhaft angedeutet werden, oder die junge Infantin in der Bildmitte, die umgeben ist von Dienern, Hunden und Mitgliedern der höfischen Gesellschaft. Die Sichtbarkeit im Bild sei ohne die sich hierüber zeigende Unsichtbarkeit nicht zu erklären. In all diesen verstreuten Manifestationen werde die Leer-
{"title":"Unsichtbare Arbeit: Velázquez' Magd, die Untersuchung (enquête) und das Prinzip der Furcht (taqīya)","authors":"C. Behrmann","doi":"10.1353/mln.2022.0036","DOIUrl":"https://doi.org/10.1353/mln.2022.0036","url":null,"abstract":"In Diego Velázquez’ Gemälde Las Meninas (1656) wird Michel Foucault zufolge das Modell der Repräsentation als die Gleichzeitigkeit einer „invisibilité profonde“ („essentiellen Unsichtbarkeit“) erklärbar („Les Suivantes“ 493).1 Sichtbar im Bild seien nur die auf die Leerstelle der Souveränität verweisenden Zeichen: der hinter der Leinwand hervorblickende Künstler selbst, ein Spiegel an der Rückwand des Raumes, in dem König und Königin schemenhaft angedeutet werden, oder die junge Infantin in der Bildmitte, die umgeben ist von Dienern, Hunden und Mitgliedern der höfischen Gesellschaft. Die Sichtbarkeit im Bild sei ohne die sich hierüber zeigende Unsichtbarkeit nicht zu erklären. In all diesen verstreuten Manifestationen werde die Leer-","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"30 1","pages":"504 - 526"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82075830","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":"alles / will die erinnerung sagen / wird schrift. Sehen, Erinnern und Benennen in Esther Kinskys Schiefern","authors":"F. Humphreys","doi":"10.1353/mln.2022.0039","DOIUrl":"https://doi.org/10.1353/mln.2022.0039","url":null,"abstract":"","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"73 1","pages":"566 - 585"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88064828","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}
We see a group of young miners descending into an abandoned yet unsealed mineshaft. They look skinny rather than strong, their dark skin is gray from dust. The men carry small digital cameras. In the first shot one can still see the daylight shining through the entrance of the shaft. Then there are only the bundled light beams of the bicycle head-lamps the men are wearing on their heads; they light the way, the rocks and the stones in the absolute dark, sometimes they cross the camera and let everything disappear in dazzling white. The miners are poorly equipped, wearing rubber boots or thin sneakers, worn jeans or jogging pants, T-shirts, hoodies, and backpacks made from plastic bags tied together, no helmets. The shaft descends steeply. We hear grinding noises and the men conversing loudly in Chitonga, a Southern African language. Sometimes, when they speak with others, we also hear Sesotho and isiZulu or isiNdebele. Sometimes, there is English and Afrikaans, too. We listen to their voices and read the English subtitles. The miners are not skilled in filming, yet they have an idea of how a film is being made. They take us to a place unseen and never documented, a dark underground labyrinth, abandoned
{"title":"The Space of Appearance in Deep Underground: A Film Is Being Made and the Documentary Gesture","authors":"Astrid Deuber-Mankowsky","doi":"10.1353/mln.2022.0034","DOIUrl":"https://doi.org/10.1353/mln.2022.0034","url":null,"abstract":"We see a group of young miners descending into an abandoned yet unsealed mineshaft. They look skinny rather than strong, their dark skin is gray from dust. The men carry small digital cameras. In the first shot one can still see the daylight shining through the entrance of the shaft. Then there are only the bundled light beams of the bicycle head-lamps the men are wearing on their heads; they light the way, the rocks and the stones in the absolute dark, sometimes they cross the camera and let everything disappear in dazzling white. The miners are poorly equipped, wearing rubber boots or thin sneakers, worn jeans or jogging pants, T-shirts, hoodies, and backpacks made from plastic bags tied together, no helmets. The shaft descends steeply. We hear grinding noises and the men conversing loudly in Chitonga, a Southern African language. Sometimes, when they speak with others, we also hear Sesotho and isiZulu or isiNdebele. Sometimes, there is English and Afrikaans, too. We listen to their voices and read the English subtitles. The miners are not skilled in filming, yet they have an idea of how a film is being made. They take us to a place unseen and never documented, a dark underground labyrinth, abandoned","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"55 1","pages":"466 - 482"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90302256","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}
investigation of materiality in literature, an engagement with literature in its material dimension is something that lingers unaddressed. This is less a criticism of the work’s merits and more of an observation of where it fits within a burgeoning albeit earnest “material turn” in literary studies.2 Nonetheless, it surprises that a study concerned with revising realism’s attempted erasure of the material world would not engage even briefly with the materiality of the objects upon which those interpretations rests. However, in tracing and uncovering the meaning-potential of materiality and its representation (or lack thereof) back to the nineteenth century, Weitzman’s conceptual lens provides a new angle with which to observe what we don’t often wish to see. Though grounded in realist literature, her study offers a wealth of material for its broader aesthetic and theoretical considerations of what, how and why something or someone is rendered in/visible.
{"title":"Special Effects and German Silent Film: Techno-Romantic Cinema by Katharina Loew (review)","authors":"A. Moss","doi":"10.1353/mln.2022.0046","DOIUrl":"https://doi.org/10.1353/mln.2022.0046","url":null,"abstract":"investigation of materiality in literature, an engagement with literature in its material dimension is something that lingers unaddressed. This is less a criticism of the work’s merits and more of an observation of where it fits within a burgeoning albeit earnest “material turn” in literary studies.2 Nonetheless, it surprises that a study concerned with revising realism’s attempted erasure of the material world would not engage even briefly with the materiality of the objects upon which those interpretations rests. However, in tracing and uncovering the meaning-potential of materiality and its representation (or lack thereof) back to the nineteenth century, Weitzman’s conceptual lens provides a new angle with which to observe what we don’t often wish to see. Though grounded in realist literature, her study offers a wealth of material for its broader aesthetic and theoretical considerations of what, how and why something or someone is rendered in/visible.","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"7 1","pages":"605 - 608"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72829702","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}
Marc Redfield’s Shibboleth: Judges, Derrida, Celan is a remarkable quest into the implications of “shibboleth” which supplements and expands Jacques Derrida’s work on Paul Celan by powerfully charting a fuller and more dynamic history of the word. Redfield returns to some of the key themes in Derrida’s essays on Paul Celan in the volume Sovereignties in Question,1 such as the putative origin of shibboleth in the violent conflict between the Ephraimites and the Gileadites in The Book of Judges, the inscription and iterability of events through dates in Celan’s poems, and the ethics of encountering the other. More importantly, it extends the scope of shibboleth beyond these themes through compelling readings of William Faulkner’s Absalom, Absalom!, apostrophes in Celan’s poems, the story of the Tower of Babel, and Colombian artist Doris Salcedo’s installation Shibboleth (2007) at the Tate Modern. Redfield’s long-standing interest in tracing the dissemination and inheritance of words culminates in this current work. The introductory chapter of the book, titled “Shibboleth: Inheritance,” demonstrates how shibboleth surpasses conceptual stagnation and generates variable and oftentimes contradictory meanings in different languages, particularly English, German, and French: they can be summed up as “testword, password, slogan, cliché” (26). Shibboleth loses its aura through its reproduction in testing technologies and surveillance mechanisms as varied as the open-source password management software “Shibboleth” and coercive means of border control in policed states. Redfield reveals the contemporary techno-political conditions for shibboleth’s altering significance and calls attention to their oscillation between “publicity and privacy” on the one hand and “semantic and nonsemantic functioning” (4) on the other. Passwords assume secrecy and are often meaningless, whereas clichés, slogans, and testwords assume publicity and knownness, even though they are teetering on the threshold of meaninglessness through their mechanical reproducibility. He astutely argues that shibboleth’s existence through its many avatars is symptomatic of a “testing imperative” that serves to create and maintain
{"title":"Shibboleth: Judges, Derrida, Celan by Marc Redfield (review)","authors":"Sneha Chowdhury","doi":"10.1353/mln.2022.0045","DOIUrl":"https://doi.org/10.1353/mln.2022.0045","url":null,"abstract":"Marc Redfield’s Shibboleth: Judges, Derrida, Celan is a remarkable quest into the implications of “shibboleth” which supplements and expands Jacques Derrida’s work on Paul Celan by powerfully charting a fuller and more dynamic history of the word. Redfield returns to some of the key themes in Derrida’s essays on Paul Celan in the volume Sovereignties in Question,1 such as the putative origin of shibboleth in the violent conflict between the Ephraimites and the Gileadites in The Book of Judges, the inscription and iterability of events through dates in Celan’s poems, and the ethics of encountering the other. More importantly, it extends the scope of shibboleth beyond these themes through compelling readings of William Faulkner’s Absalom, Absalom!, apostrophes in Celan’s poems, the story of the Tower of Babel, and Colombian artist Doris Salcedo’s installation Shibboleth (2007) at the Tate Modern. Redfield’s long-standing interest in tracing the dissemination and inheritance of words culminates in this current work. The introductory chapter of the book, titled “Shibboleth: Inheritance,” demonstrates how shibboleth surpasses conceptual stagnation and generates variable and oftentimes contradictory meanings in different languages, particularly English, German, and French: they can be summed up as “testword, password, slogan, cliché” (26). Shibboleth loses its aura through its reproduction in testing technologies and surveillance mechanisms as varied as the open-source password management software “Shibboleth” and coercive means of border control in policed states. Redfield reveals the contemporary techno-political conditions for shibboleth’s altering significance and calls attention to their oscillation between “publicity and privacy” on the one hand and “semantic and nonsemantic functioning” (4) on the other. Passwords assume secrecy and are often meaningless, whereas clichés, slogans, and testwords assume publicity and knownness, even though they are teetering on the threshold of meaninglessness through their mechanical reproducibility. He astutely argues that shibboleth’s existence through its many avatars is symptomatic of a “testing imperative” that serves to create and maintain","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"55 1","pages":"616 - 620"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75819741","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}
August Wilhelm Iffland (1759–1814) was one of the Age of Goethe’s most prolific playwrights and gifted actors.1 His portrayal of Franz Moor in Friedrich Schiller’s Die Räuber (1782) cemented his popularity across Germany. He sustained his fame with the role of the Oberförster in his own drama Die Jäger (1785), which Goethe selected to inaugurate the Weimar Court Theater in 1791. Die Jäger, like many of Iffland’s melodramas, centers on a patriarch from the lower ranks who wants the best for his family. Audiences generally enjoyed his plays because of their sentimentality, but Iffland argued that social critique was a key part of his message. In the “Vorbericht an Schauspieler und Leser,” published with the play’s first version in 1785 and not reprinted until the twentieth-century Reclam edition, the playwright announces that the use of torture in legal proceedings is the key question of Die Jäger, and he requests that others in public administration send him additional cases in which excessive emotions led to conflict and punishments. While Iffland does not detail what he aims to achieve by entering into late eighteenth-century debates on torture, he claims that plays like his are useful to the state because they educate the public “wie gute Menschen durch Schwächen und Vorurteil sich das Leben verderben”
奥古斯特·威廉·伊夫兰(1759-1814)是歌德时代最多产的剧作家和天才演员之一他在弗里德里希·席勒(Friedrich Schiller)的《Die Räuber》(1782年)中扮演的弗朗茨·摩尔(Franz Moor)形象，巩固了他在德国的知名度。他在自己的戏剧《Jäger》(1785年)中饰演Oberförster，这一角色让他名声大噪。1791年，歌德选定这部戏剧为魏玛宫廷剧院的开幕之作。《死亡Jäger》就像许多伊夫兰的情节剧一样，故事围绕着一位出身下层的家长展开，他希望自己的家庭过得最好。观众普遍喜欢他的戏剧，因为他们的多愁善感，但伊夫兰认为，社会批判是他的信息的关键部分。在1785年与戏剧第一版一起出版的《Vorbericht an Schauspieler and Leser》中直到20世纪的Reclam版才重版，剧作家宣布在法律程序中使用酷刑是《死亡》的关键问题Jäger，他要求公共行政部门的其他人给他提供额外的案例过度的情绪导致冲突和惩罚。虽然Iffland没有详细说明他进入18世纪晚期关于酷刑的辩论的目的是什么，但他声称，像他这样的戏剧对国家是有用的，因为它们教育公众“wie gute Menschen durch Schwächen und Vorurteil sich das Leben verderben”
{"title":"Community and Forest Management in A. W. Iffland's Die Jäger","authors":"Vance Byrd","doi":"10.1353/mln.2022.0037","DOIUrl":"https://doi.org/10.1353/mln.2022.0037","url":null,"abstract":"August Wilhelm Iffland (1759–1814) was one of the Age of Goethe’s most prolific playwrights and gifted actors.1 His portrayal of Franz Moor in Friedrich Schiller’s Die Räuber (1782) cemented his popularity across Germany. He sustained his fame with the role of the Oberförster in his own drama Die Jäger (1785), which Goethe selected to inaugurate the Weimar Court Theater in 1791. Die Jäger, like many of Iffland’s melodramas, centers on a patriarch from the lower ranks who wants the best for his family. Audiences generally enjoyed his plays because of their sentimentality, but Iffland argued that social critique was a key part of his message. In the “Vorbericht an Schauspieler und Leser,” published with the play’s first version in 1785 and not reprinted until the twentieth-century Reclam edition, the playwright announces that the use of torture in legal proceedings is the key question of Die Jäger, and he requests that others in public administration send him additional cases in which excessive emotions led to conflict and punishments. While Iffland does not detail what he aims to achieve by entering into late eighteenth-century debates on torture, he claims that plays like his are useful to the state because they educate the public “wie gute Menschen durch Schwächen und Vorurteil sich das Leben verderben”","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"10 1","pages":"527 - 544"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90391036","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}
Of the many tendencies associated with the feminine Andreas-Salomé sought to transvaluate in both her fictional and theoretical writings, that of Woman’s anachronistic, even a-chronic relation to the teleological thrust of the patriarchal subject comes to the fore here. This may be why the novel’s subtitle alludes to the belated quality of its contents, as if the nineteenth century’s discursive preoccupation with the “woman question” invited interminable revisioning.
{"title":"Branded: A Diary ed. by Emmy Hennings (review)","authors":"Sophie Duvernoy","doi":"10.1353/mln.2022.0044","DOIUrl":"https://doi.org/10.1353/mln.2022.0044","url":null,"abstract":"Of the many tendencies associated with the feminine Andreas-Salomé sought to transvaluate in both her fictional and theoretical writings, that of Woman’s anachronistic, even a-chronic relation to the teleological thrust of the patriarchal subject comes to the fore here. This may be why the novel’s subtitle alludes to the belated quality of its contents, as if the nineteenth century’s discursive preoccupation with the “woman question” invited interminable revisioning.","PeriodicalId":78454,"journal":{"name":"MLN bulletin","volume":"1 1","pages":"612 - 616"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82892561","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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