The article describes copies of three early-printed books at the Manchester Grammar School, which have not previously been noted in the bibliographies. These are the Missale Romanum (Venice, 1494), De Re Militari (Rome, 1494), and Aquinas, Summa contra Gentiles (Cologne, 1501). Two of the books have Hungarian connections, as is shown by inscriptions in them. They appear to have been at the grammar school since the late nineteenth or early twentieth century, but their detailed provenance remains obscure.
{"title":"Incunabula at the Manchester Grammar School","authors":"R. Cleminson","doi":"10.7227/bjrl.98.2.4","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.4","url":null,"abstract":"The article describes copies of three early-printed books at the Manchester\u0000 Grammar School, which have not previously been noted in the bibliographies.\u0000 These are the Missale Romanum (Venice, 1494), De Re\u0000 Militari (Rome, 1494), and Aquinas, Summa contra\u0000 Gentiles (Cologne, 1501). Two of the books have Hungarian\u0000 connections, as is shown by inscriptions in them. They appear to have been at\u0000 the grammar school since the late nineteenth or early twentieth century, but\u0000 their detailed provenance remains obscure.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43826054","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}
This article examines cuttings from a now-lost manuscript decorated by the little-known Florentine illuminator Littifredi Corbizzi (1465–c.1515) at the turn of the sixteenth century. This manuscript, a choirbook produced for the monks at San Benedetto in Gubbio in 1499–1503, was dismembered in the nineteenth century. Until now, all but one of its cuttings were believed to be lost. Through the emergence of several key pieces of evidence, most notably the identification of tracings of the manuscript made by the German artist Johann Anton Ramboux in the mid-1830s before its dismemberment, I have been able to link definitively three initials to this largely unresearched commission. Two of these are in a previously unstudied manuscript album at the John Rylands Library, recently digitised. Considering the cuttings stylistically and, critically, interrogating their provenance, I propose that a further ten cuttings can also be linked to Littifredi’s work for the monastery, and argue that Ramboux played a significant role in their initial collection.
本文研究了一份现已丢失的手稿的剪报，该手稿是由16世纪之交鲜为人知的佛罗伦萨照明家利蒂弗雷迪·科比齐(1465-c.1515)装饰的。这份手稿是1499年至1503年为古比奥圣贝内代托的僧侣制作的唱诗班书，在19世纪被肢解。到目前为止，除了一根剪枝外，其他的都被认为已经丢失。通过几项关键证据的出现，最引人注目的是德国艺术家约翰·安东·朗布克斯(Johann Anton Ramboux)在19世纪30年代中期被肢解前对手稿的描摹，我已经能够明确地将三个首字母与这个基本上未经研究的委员会联系起来。其中两份手稿收录在约翰·莱兰兹图书馆一个以前未被研究过的手稿相册中，最近被数字化了。考虑到这些剪报的风格，并批判性地询问它们的来源，我提出另外十幅剪报也可以与利蒂弗雷迪为修道院做的工作联系起来，并认为朗布克斯在他们最初的收藏中发挥了重要作用。
{"title":"Littifredi Corbizzi, Johann Anton Ramboux and an Album of Manuscript Cuttings at the John Rylands Library","authors":"Fergus Bovill","doi":"10.7227/bjrl.98.2.3","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.3","url":null,"abstract":"This article examines cuttings from a now-lost manuscript decorated by the\u0000 little-known Florentine illuminator Littifredi Corbizzi\u0000 (1465–c.1515) at the turn of the sixteenth century.\u0000 This manuscript, a choirbook produced for the monks at San Benedetto in Gubbio\u0000 in 1499–1503, was dismembered in the nineteenth century. Until now, all\u0000 but one of its cuttings were believed to be lost. Through the emergence of\u0000 several key pieces of evidence, most notably the identification of tracings of\u0000 the manuscript made by the German artist Johann Anton Ramboux in the mid-1830s\u0000 before its dismemberment, I have been able to link definitively three initials\u0000 to this largely unresearched commission. Two of these are in a previously\u0000 unstudied manuscript album at the John Rylands Library, recently digitised.\u0000 Considering the cuttings stylistically and, critically, interrogating their\u0000 provenance, I propose that a further ten cuttings can also be linked to\u0000 Littifredi’s work for the monastery, and argue that Ramboux played a\u0000 significant role in their initial collection.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43951733","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":"Review Article: ‘Manchester Men?’","authors":"Emily Jones","doi":"10.7227/bjrl.98.2.6","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.6","url":null,"abstract":"","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47845094","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 twenty-three Ur III cuneiform texts presented in this article are housed in the collections of the Detroit Institute of Arts. This article publishes thirteen Neo-Sumerian tablets from Puzriš-Dagan which primarily deal with animals, and a further ten texts from Umma, including five messenger texts. The aim of the article is to offer an edition and an updated catalogue of these texts, with a special focus on the Neo-Sumerian administration.
{"title":"Twenty-Three Ur III Texts from Detroit Institute of Arts","authors":"Changy Liu","doi":"10.7227/bjrl.98.2.1","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.1","url":null,"abstract":"The twenty-three Ur III cuneiform texts presented in this article are housed in\u0000 the collections of the Detroit Institute of Arts. This article publishes\u0000 thirteen Neo-Sumerian tablets from Puzriš-Dagan which primarily deal with\u0000 animals, and a further ten texts from Umma, including five messenger texts. The\u0000 aim of the article is to offer an edition and an updated catalogue of these\u0000 texts, with a special focus on the Neo-Sumerian administration.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42058490","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}
Celebrated as a leader of London’s ‘Underground’ in the 1960–70s, and a leading British poet and performance artist of his time, Jeff Nuttall found fame through his critique of post-nuclear culture, Bomb Culture, which provided an influential rationale for artistic practice through absurdism but lost that recognition a decade or so later. Less well recognised, and with greater influence, is the distinctively visceral sensibility underlying much of his creative work, notably his poetry that draws on Dylan Thomas and the Beat Movement, his graphic drawing and luscious painting styles, and his pioneering performance art. This article argues that it is through these artistic expressions of visceral intelligence that Jeff Nuttall’s art and its long-term influence can now best be understood. It is intended to complement the Jeff Nuttall Papers in the Special Collections of The John Rylands Research Institute and Library, University of Manchester, deposited by the gallerist and poetry publisher Robert Bank (1941–2015), to whose memory this article is dedicated. Further papers have been added by Nuttall’s friends and relatives.
{"title":"The Mammal Thing","authors":"T. E. Jones","doi":"10.7227/bjrl.98.2.7","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.7","url":null,"abstract":"Celebrated as a leader of London’s ‘Underground’ in the\u0000 1960–70s, and a leading British poet and performance artist of his time,\u0000 Jeff Nuttall found fame through his critique of post-nuclear culture,\u0000 Bomb Culture, which provided an influential rationale for\u0000 artistic practice through absurdism but lost that recognition a decade or so\u0000 later. Less well recognised, and with greater influence, is the distinctively\u0000 visceral sensibility underlying much of his creative work, notably his poetry\u0000 that draws on Dylan Thomas and the Beat Movement, his graphic drawing and\u0000 luscious painting styles, and his pioneering performance art. This article\u0000 argues that it is through these artistic expressions of visceral intelligence\u0000 that Jeff Nuttall’s art and its long-term influence can now best be\u0000 understood. It is intended to complement the Jeff Nuttall Papers in the Special\u0000 Collections of The John Rylands Research Institute and Library, University of\u0000 Manchester, deposited by the gallerist and poetry publisher Robert Bank\u0000 (1941–2015), to whose memory this article is dedicated. Further papers\u0000 have been added by Nuttall’s friends and relatives.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43031850","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}
David Lloyd Roberts MRCS LSA MD FRCP FRS.Edin (1834–1920) was a successful Manchester doctor who made significant contributions to the advancement of gynaecology and obstetrics. His career was closely linked to the Manchester St Mary’s Hospital for Women and Children, 1858–1920. He lectured on midwifery at Owens College and the University of Manchester and was gynaecological surgeon to Manchester Royal Infirmary. He had many interests outside medicine, including a large collection of rare books, paintings and antiques. He produced an edition of Thomas Browne’s Religio Medici (1898) and a paper, The Scientific Knowledge of Dante (1914). He donated his books to the John Rylands Library and the London Royal College of Physician, his paintings to the Manchester Art Gallery, and he left a large endowment to Bangor College, Wales. This article reviews his medical work alongside his legacy to literature, the arts and education.
David Lloyd Roberts MRCS LSA MD FRCP FRS。Edin（1834-1920）是一位成功的曼彻斯特医生，对妇产科的发展做出了重大贡献。1858-1920年，他的职业生涯与曼彻斯特圣玛丽妇女儿童医院密切相关。他曾在欧文斯学院和曼彻斯特大学讲授助产学，也是曼彻斯特皇家医院的妇科外科医生。他在医学之外有许多兴趣，包括收藏大量珍本、绘画和古董。他出版了托马斯·布朗的《医学遗迹》（1898年）和论文《但丁的科学知识》（1914年）。他将自己的书籍捐赠给了约翰·赖兰德图书馆和伦敦皇家医学院，将自己的画作捐赠给了曼彻斯特美术馆，并将大笔捐款捐给了威尔士班戈学院。这篇文章回顾了他的医学工作以及他对文学、艺术和教育的遗产。
{"title":"David Lloyd Roberts (1834–1920), Physician and Gynaecologist","authors":"P. Mohr","doi":"10.7227/bjrl.98.2.5","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.5","url":null,"abstract":"David Lloyd Roberts MRCS LSA MD FRCP FRS.Edin (1834–1920) was a successful\u0000 Manchester doctor who made significant contributions to the advancement of\u0000 gynaecology and obstetrics. His career was closely linked to the Manchester St\u0000 Mary’s Hospital for Women and Children, 1858–1920. He lectured on\u0000 midwifery at Owens College and the University of Manchester and was\u0000 gynaecological surgeon to Manchester Royal Infirmary. He had many interests\u0000 outside medicine, including a large collection of rare books, paintings and\u0000 antiques. He produced an edition of Thomas Browne’s Religio\u0000 Medici (1898) and a paper, The Scientific Knowledge of\u0000 Dante (1914). He donated his books to the John Rylands Library and\u0000 the London Royal College of Physician, his paintings to the Manchester Art\u0000 Gallery, and he left a large endowment to Bangor College, Wales. This article\u0000 reviews his medical work alongside his legacy to literature, the arts and\u0000 education.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41539875","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 beautiful Latin MS 198 of the John Rylands Library preserves one of two currently known manuscript copies of the Servite Lorenzo Opimo of Bologna’s Scriptum on the Sentences, the only such text by a Servite that survives. In 1494, the Chapter General of the Servite Order made Lorenzo the order’s teaching doctor, since the representatives declared that his work, primarily his questions on the Sentences, would be required reading for Servite students and masters of theology. No doubt as a result, Lorenzo’s Scriptum was printed in Venice in 1532. To most medieval intellectual historians, the printing, the author, and even the religious order are virtually unknown. This two-part article puts this unique text in its doctrinal and institutional context. Part I argues that Lorenzo delivered his Sentences lectures at the University of Paris in 1370–71, presents and analyses the tradition of the three textual witnesses, and offers a question list.
{"title":"Lorenzo Opimo of Bologna, Teaching Doctor of the Servites during the Reformation, and His Sentences Lectures at the University of Paris in 1370–71 (Part I)","authors":"C. Schabel","doi":"10.7227/bjrl.98.2.2","DOIUrl":"https://doi.org/10.7227/bjrl.98.2.2","url":null,"abstract":"The beautiful Latin MS 198 of the John Rylands Library preserves one of two\u0000 currently known manuscript copies of the Servite Lorenzo Opimo of\u0000 Bologna’s Scriptum on the Sentences,\u0000 the only such text by a Servite that survives. In 1494, the Chapter General of\u0000 the Servite Order made Lorenzo the order’s teaching doctor, since the\u0000 representatives declared that his work, primarily his questions on the\u0000 Sentences, would be required reading for Servite students\u0000 and masters of theology. No doubt as a result, Lorenzo’s\u0000 Scriptum was printed in Venice in 1532. To most medieval\u0000 intellectual historians, the printing, the author, and even the religious order\u0000 are virtually unknown. This two-part article puts this unique text in its\u0000 doctrinal and institutional context. Part I argues that Lorenzo delivered his\u0000 Sentences lectures at the University of Paris in\u0000 1370–71, presents and analyses the tradition of the three textual\u0000 witnesses, and offers a question list.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47821326","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}
This article considers the use made of William Blake by a range of writers associated with the ‘countercultural’ milieu of the 1960s, particularly those linked to its London-based literary context. Iain Sinclair is offered as a writer who, in his appreciation of Blake, stands apart from the poets linked to the anthology, Children of Albion (1969). The article unpacks this distinction, analysing Sinclair’s ‘topographic’ take in comparison to the ‘visionary’ mode of his contemporaries. Having established this dualism, the argument then questions the nature of the visionary poetics assumed to apply to the likes of key poets from the era. The work of Michael Horovitz is brought into view, as is that of Harry Fainlight. In essence, these multiple discourses point to the plurality of Blake as a figure of influence and the variation underpinning his literary utility in post-1960s poetry.
{"title":"Iain Sinclair, William Blake and the Visionary Poetry of the 1960s","authors":"J. Riley","doi":"10.7227/bjrl.98.1.7","DOIUrl":"https://doi.org/10.7227/bjrl.98.1.7","url":null,"abstract":"This article considers the use made of William Blake by a range of writers\u0000 associated with the ‘countercultural’ milieu of the 1960s,\u0000 particularly those linked to its London-based literary context. Iain Sinclair is\u0000 offered as a writer who, in his appreciation of Blake, stands apart from the\u0000 poets linked to the anthology, Children of Albion (1969). The\u0000 article unpacks this distinction, analysing Sinclair’s\u0000 ‘topographic’ take in comparison to the ‘visionary’\u0000 mode of his contemporaries. Having established this dualism, the argument then\u0000 questions the nature of the visionary poetics assumed to apply to the likes of\u0000 key poets from the era. The work of Michael Horovitz is brought into view, as is\u0000 that of Harry Fainlight. In essence, these multiple discourses point to the\u0000 plurality of Blake as a figure of influence and the variation underpinning his\u0000 literary utility in post-1960s poetry.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48194973","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}
This article explores the more detached and ironic view of Blake that emerged in the 1970s compared to appropriations of him in the 1960s, as evident in three science-fiction novels: Ray Nelson’s Blake’s Progress (1977), Angela Carter’s The Passion of New Eve (1977), and J. G. Ballard’s The Unlimited Dream Company (1979). In adopting a more antagonistic posture towards Blake, all three of these books reflect increasingly ambivalent attitudes towards the countercultures of the 1960s, and can be read as critical of some of those very energies that the Romantic movement was seen to embody. Thus Nelson rewrites the relationship of William and Catherine, in which the engraver comes under the influence of a diabolic Urizen, while Carter recasts the Prophet Los as a Charles Manson-esque figure. Even Ballard, the most benign of the three, views Blakean energy as a release of potentially dangerous psychopathologies. In all the novels, we see a contrarian use of misprision, rewriting Blake as Blake had rewritten Milton.
{"title":"‘The Place Where Contrarieties are Equally True’","authors":"Jason Whittaker","doi":"10.7227/bjrl.98.1.8","DOIUrl":"https://doi.org/10.7227/bjrl.98.1.8","url":null,"abstract":"This article explores the more detached and ironic view of Blake that emerged in\u0000 the 1970s compared to appropriations of him in the 1960s, as evident in three\u0000 science-fiction novels: Ray Nelson’s Blake’s\u0000 Progress (1977), Angela Carter’s The Passion of New\u0000 Eve (1977), and J. G. Ballard’s The Unlimited Dream\u0000 Company (1979). In adopting a more antagonistic posture towards\u0000 Blake, all three of these books reflect increasingly ambivalent attitudes\u0000 towards the countercultures of the 1960s, and can be read as critical of some of\u0000 those very energies that the Romantic movement was seen to embody. Thus Nelson\u0000 rewrites the relationship of William and Catherine, in which the engraver comes\u0000 under the influence of a diabolic Urizen, while Carter recasts the Prophet Los\u0000 as a Charles Manson-esque figure. Even Ballard, the most benign of the three,\u0000 views Blakean energy as a release of potentially dangerous psychopathologies. In\u0000 all the novels, we see a contrarian use of misprision, rewriting Blake as Blake\u0000 had rewritten Milton.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45624624","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 this article, written in his signature style, Michael Horovitz reflects on his longstanding fascination with William Blake. He recalls how the spirit of Blake loomed large at the International Poetry Incarnation at the Albert Hall in the summer of 1965, where his fellow travellers, among them Adrian Mitchell, were driven by the nineteenth-century poet. Horovitz recounts the ways that Blake has continued to inform his artistic practices, which cut across from poetry to music and visual art.
{"title":"William Blake and (a Few of) His Friends in Our Time","authors":"Michael Horovitz","doi":"10.7227/bjrl.98.1.3","DOIUrl":"https://doi.org/10.7227/bjrl.98.1.3","url":null,"abstract":"In this article, written in his signature style, Michael Horovitz reflects on his\u0000 longstanding fascination with William Blake. He recalls how the spirit of Blake\u0000 loomed large at the International Poetry Incarnation at the Albert Hall in the\u0000 summer of 1965, where his fellow travellers, among them Adrian Mitchell, were\u0000 driven by the nineteenth-century poet. Horovitz recounts the ways that Blake has\u0000 continued to inform his artistic practices, which cut across from poetry to\u0000 music and visual art.","PeriodicalId":80816,"journal":{"name":"Bulletin. John Rylands University Library of Manchester","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41591343","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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