Contemporary French and Francophone Studies最新文献

{"title":"Fukushima, récit d’un désastre de Michaël Ferrier, Une alliance heureuse de la science et de la littérature.","authors":"Brigitte Tsobgny","doi":"10.1080/17409292.2023.2261334","DOIUrl":"https://doi.org/10.1080/17409292.2023.2261334","url":null,"abstract":"Le 11 mars 2011, la terre tremble au Japon pendant environ 2 minutes. Le séisme déclenche un tsunami qui provoque à son tour un accident nucléaire de la même ampleur que celle de Tchernobyl. Dans F...","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138527204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le chemin le moins court : L’art du détour chez Michaël Ferrier et Jirō Taniguchi","authors":"Carine Schermann","doi":"10.1080/17409292.2023.2263295","DOIUrl":"https://doi.org/10.1080/17409292.2023.2263295","url":null,"abstract":"This comparative article brings together the works of two painters of Tokyo: Francophone writer Michaël Ferrier and his hybrid collection of poetic essays, Tokyo, petits portraits de l’aube (2004),...","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138527212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"(Re)Interpreting Normativity and Masculinity in Bahaa Trabelsi’s <i>Une vie à trois</i>","authors":"Donald Joseph","doi":"10.1080/17409292.2023.2237795","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237795","url":null,"abstract":"Abstract This article examines the multifaceted process of queer subjectivity (re)formation that queer Maghrebi subjects undergo as they (re)interpret their relationship to and orientation toward social norms, masculinity, and the spaces of exchange they inhabit. Bahaa Trabelsi’s Une vie à trois [A Life of Three] (2000) assembles an intricate literary text to signal the inequalities many non-normative or queer Maghrebi subjects encounter via conservative discourse. This article understands Trabelsi’s work as a critique of masculinity and society, in which she does reconfigure masculinity to develop a plural form, which is to say, “masculinities,” to go beyond singular, essentialized interpretations of the concept. To engage with Trabelsi’s apparent critique of Moroccan society, this article postulates that the several narratives in the novel assemble figures of revolt, which involve subjects purposefully eliding societal pressures, therefore, situating themselves as “others” within their communities to maintain agency and individual subjecthood.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reinterpreting Africa’s Presence in the Global: Afrotopia, Diaspora, Return, and Global Black Reappropriation","authors":"Patoimbasba Nikiema","doi":"10.1080/17409292.2023.2237788","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237788","url":null,"abstract":"AbstractFor the African continent, the global turn not only marks a significant shift in the nature of the relationships it maintains with other regions of the world but is also characteristic of increasing demands for internal sociopolitical changes. After a presence in the world through troubling times characterized by uncertainties and doubts, Sub-Saharan Africa is gradually writing its chapter on optimism and entering its Renaissance. However, recent protests in Francophone Africa, which are symptomatic of overwhelming social exasperations and of growing frustrations remind the necessity for the continent to reimagine new ways of responding to its internal social demands while reassessing its place in a more and more transnational global space. Consequently, reflections on the being-in-the-global of the continent entail crucial interrogations and analyses on the multidimensional axes of domination that define Africa’s relations with the rest of the world, while opposing them to the single axis relationships that symbolize colonial times. This work, therefore, calls for the continent’s awareness concerning the contemporary models of global relationships and their implications. It argues that the stakes of the continent’s presence in the global require both an Afrotopian vision and a global black response.Keywords: AfricaAfrotopiaReappropriationExtraversionglobalizationreturn Additional informationNotes on contributorsPatoimbasba NikiemaPatoimbasba Nikiema is an Assistant Professor of French and Francophone Studies, Global Black Studies and Afropean Studies at the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami. He is currently working on the participation of African and Afrodiasporic authors in Afrotopia and explores the return from exile in Caribbean and African literary productions.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Le Chercheur d’Afriques</i> : Henri Lopes, <i>Créolité</i> , and Jazz","authors":"Julia Praud","doi":"10.1080/17409292.2023.2237781","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237781","url":null,"abstract":"AbstractHenri Lopes’s Citation1990 novel, Le Chercheur d’Afriques, embraces the post-colonial reality of multiple roots (Glissant). Much like Jazz music itself, the novel embodies the principles of la créolité outlined by Bernabé, Chamoiseau, and Confiant in their 1989 work, Éloge de la Créolité. This paper will explore the rhythms, musical composition, and musical intersections that enrich and shape the novel paying particular attention to jazz music, lyrics, rhythm, and sounds embedded in the novel’s structure, language, and imagery, and examine ways in which the layering music and musical references throughout the text has the power to create soundscapes, evoke emotions and memories.Keywords: Henri LopesCréolitéJazzCongoFrancophone Notes1 All translations are mine2 The narrator, André, notes that he thought Mouloudji was biracial like him “because of his lips and his hair” (Lopes 14).3 In response to the question about the role music plays in Lopes’ work, the author replies, “En fait, je pense que l’entrée de la musique se trouve dans Le chercheur d’Afriques” (Prüschenk 130).4 A soundtrack for Henri Lopes’s novels compiled by Anthony Mangeon is available on YouTube at the following link: https://www.youtube.com/playlist?list=PLrBC0vF_Opv-o1CNGQPLdTJ3muA0ul-8i5 “www.rfimusique.com/siteFr/biographie/biographie_9027.asp”6 “www.pbs.org/wnet/americanmasters/print/robeson_p.html”7 “The drum beats, and insists, inviting the village to gather. Thump, thump, thump. Muted, throbbing beats. One, then several women wail. The drum continues its demonic rhythm as if to convince even the wise ones and the elders to get up to come stomp the ancestral grounds.”8 “Charlie Parker’s sax threw a musical serpentine into the piece, gliding, spinning, whirling quickly to take off again, unstoppable, into a spiraling rocket” (33).9 Mpoto = EuropeAdditional informationNotes on contributorsJulia PraudDr. Julia Praud is an Associate Professor of French at the United States Military Academy where she serves as the French Program Director in the Department of Foreign Languages. At West Point, Julia teaches a variety of courses from language to literature. Her research interests include francophone literature from Africa with a focus on post-independence literary production.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Écritures de femmes racialisées : Vers une lecture antiraciste","authors":"Frédérique Chevillot","doi":"10.1080/17409292.2023.2237803","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237803","url":null,"abstract":"AbstractThis article examines three texts written by Black women and/or racialized creators writing in French: Trop noire pour être française (2017) by Isabelle Boni-Claverie, Je suis quelqu’un (2018) by Aminata Aidara and Chair Piment (2002) by Gisèle Pineau. Together, these texts interrogate historical and contemporary forms of racism and sexism embedded in the French language and search for ways to humanize the experience of characters generally denigrated by colonizing French white supremacy.Keywords: Antiracist literary writingracialized women writing in FrenchFrench whitenessIsabelle Boni-ClaverieAminata AidaraGisèle Pineau Notes1 https://www.legifrance.gouv.fr/loda/article_lc/LEGIARTI000037090124/2019-03-182 https://www.sbctc.edu/resources/documents/colleges-staff/programs-services/administrators-of-color/central-frames-colorblind-racism-sum2019.pdfAdditional informationNotes on contributorsFrédérique ChevillotFrédérique Chevillot is Professor at the University of Denver. Her research focuses on contemporary novels and short stories by women authors writing in French. She is the author of La Réouverture du texte (Anma Libri), and, co-edited with Anna Norris, Des Femmes écrivent la guerre (Complicités, 2007). She is co-editor of Rebelles et criminelles chez les écrivaines d’expression française, a volume on literary representations of rebellious and criminal women by female authors (Rodopi, 2013). She also collaborated with Elizabeth Hall, Eilene Hoft-March, and Maribel Peñalver Vicea, on an editorial volume titled Cixous After 2000/Cixous depuis 2000, published with Rodopi/Brill (2017).","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"De Paul Valéry (« découvrir quel problème l’auteur s’est posé ») à une lecture de Michaël Ferrier","authors":"Bernadette Cailler","doi":"10.1080/17409292.2023.2237806","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237806","url":null,"abstract":"AbstractThis article considers Valéry’s postulation (Cahiers, 1923) that critics should work on discovering the « problem » experienced by the author consciously or unconsciously and decide whether it was successfully resolved. Three years later, Valéry added that critics should therefore concentrate their attention on the work itself and try to decipher all its meanings through close reading (Cahiers, 1926). Through interviews and multiple exchanges with readers, Ferrier, the author, himself a seasoned critic, provides many reading clues. Such practices, however, threaten to kill critics’ efforts by turning them into parrots, less good than their master, and perhaps kept away from offering new perspectives. Also, another trap for critics is to take their own reading problems for those the writer might have had. The only solution is to reject the « affective fallacy » denounced by The New Critics, and to consider texts between author, narrator, contexts and critic. This article deals with François, portrait d’un absent, and Scrabble. Une enfance tchadienne. The conclusion briefly examines Valéry’s negative attitude towards novels, wondering what his reactions might have been, if confronted, for instance, with Glissant’s or Ferrier’s poetic novels.Keywords: ValéryFerrierclose readingaffective fallacyFrançoisScrabble Notes1 Mes précisions en italiques.2 Voir les deux essais écrits par William Kurtz Wimsatt et Monroe Beardsley, « The Intentional Fallacy » et « The Affective Fallacy. » Parmi les critiques adonnés à la « Reader-Response Theory, » on compte Wolfgang Iser, Stanley Fish, Roland Barthes, Walter Slatoff, Norman Holland. D’Edward W. Said, voir The World, the Text and the Critic, en particulier le premier chapitre du même titre.3 Je reprends ici une expression utilisée plusieurs fois par Édouard Glissant dans ses essais où il commente les techniques narratives de William Faulkner, à savoir le « détour » et le « différé, » ainsi que la vision d’identités morcelées. Voir les articles de Michael Wiedorn, Hugues Azerad et Celia Britton dans American Creoles: The Francophone Caribbean and the American South.4 Photo choisie par Martin Munro pour la couverture de son livre traduit.5 Entre autres instruments, Ferrier étudiera le piano. Il écrivit sa Maîtrise sur les chansons de Georges Brassens; plus généralement, il aime les chansons françaises et autres. Il consacra sa thèse de doctorat à la Chanson chez Céline, thèse qui devint un livre: Céline et la chanson.Additional informationNotes on contributorsBernadette CaillerBernadette Cailler is professor emerita at the University of Florida. She received degrees from the Universities of Poitiers, Paris, and Cornell (PhD in Comparative Literature, 1974). A member of the African Lliterature Association from 1975 to 2015 and of the International Council for Francophone Studies from its foundation (1987–2022), she received the 1999 Maurice Cagnon Prize (now I.C.F.S. Prize) for her contributions. She has p","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Sound of the Soul Mediated through Voice and Music in an Early Proustian Manuscript (“Après la 8e symphonie de Beethoven” [“After Beethoven’s Eighth Symphony”])","authors":"Hollie Harder","doi":"10.1080/17409292.2023.2237786","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237786","url":null,"abstract":"AbstractIn The Mysterious Correspondent: New Stories, two manuscript fragments, under the title “After Beethoven’s Eighth Symphony,” highlight Marcel Proust’s exploration of the possibility of deep spiritual communication between individuals. In each fragment, the qualities of the human voice and symphonic music are compared, underscoring the extent to which the emotional and aesthetic effects of sound depend on milieu and medium. The limitations of conversation as a means of achieving spiritual intimacy contrast dramatically with the potential of music to engender more profound human connections. This juxtaposition of voice and music gives readers a glimpse of Proust’s early efforts to transpose into words the seemingly ineffable qualities of music.Keywords: ProustBeethovenvoicemusicmanuscriptspirituality Notes1 Unless otherwise noted, the English versions of The Mysterious Correspondent: New Stories are from Charlotte Mandell’s translation.2 Suzette Lemaire was the daughter of Madeleine Lemaire, an artist in her own right, known for her paintings of flowers, who entertained members of high society as well as artists and intellectuals at her salon on the rue de Monceau in Paris. Marcel Proust and Reynaldo Hahn met at one of Madeleine Lemaire’s soirées in 1894, around the time Proust was writing the manuscripts compiled in Le Mystérieux Correspondent.3 All unattributed translations are mine.4 In the Recherche, we see a similar juxtaposition when the banalities of conversation clash with the elation inspired by Vinteuil’s music. At the Verdurin salon between movements of the septet, audience members chat briefly with the Proustian protagonist: “Un duc, pour montrer qu’il s’y connaissait, déclara: ‘C’est très difficile à bien jouer.’ Des personnes plus agréables causèrent un moment avec moi. Mais qu’étaient leurs paroles, qui, comme toute parole humaine extérieure, me laissaient si indifférent, à côté de la céleste phrase musicale avec laquelle je venais de m’entretenir?” (Proust 3: 762) [“A duke, in order to show that he knew what he was talking about, declared: ‘It’s a difficult thing to play well.’ Other more agreeable people chatted for a moment with me. But what were their words, which like every human and external word left me so indifferent, compared with the heavenly phrase of music with which I had just been communing?”] (Moncrieff 5: 344).5 For example, the Proustian narrator links the shape and color of Bloch’s nose to the nasal quality of his voice: “Son nez restait fort et rouge, mais semblait plutôt tumifié par une sorte de rhume permanent qui pouvait expliquer l’accent nasal dont il débitait paresseusement ses phrases, car il avait trouvé, de même une coiffure appropriée à son teint, une voix à sa prononciation, où le nasonnement d’autrefois prenait un air de dédain d’articuler qui allait avec les ailes enflammées de son nez” (qtd. in Pisano, p. 112).Additional informationNotes on contributorsHollie HarderHollie Harder is Professor o","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Catastrophe Televised: Accelerated Time, Telescoped Events, Distorted Perceptions","authors":"Alina Cherry","doi":"10.1080/17409292.2023.2237802","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237802","url":null,"abstract":"AbstractThis article examines the impact of TV disaster coverage on viewers’ temporal perception and sense of reality, through the lens of Dany Laferrière’s Tout bouge autour de moi (2011) and Ryoko Sekiguchi’s Ce n’est pas un hasard: Chronique japonaise (2011). The first book, written in the form of a journal, covers the devastating magnitude 7.0 earthquake that struck Haiti on January 12, 2010, and its aftermath. The second book, also written as a journal, deals with the triple disaster—earthquake, tsunami, nuclear meltdown (Fukushima)—that occurred in Japan on March 11, 2011. Both authors suggest that the media, and images, more broadly, play a crucial role in fashioning viewers’ perceptions of disaster by constructing an artificial reality that draws on the real, yet at the same time imposes its own temporality, chronological sequence, and logic. In addition, Laferrière’s and Sekiguchi’s reflections on the circulation and constant replay of images of disaster raise ethical questions about the media’s appropriation and commodification of suffering, the traumatic impact of images of atrocity, as well as our widespread addiction to watching disasters unfold in real time on television.Keywords: Dany LaferrièreRyoko SekiguchiimagedisasterTV coveragetemporality Notes1 I am referring to the French title of Boltanski’s book, La Souffrance à distance.2 I am using the distinction proposed by Susan Sontag in Regarding the Pain of Others (40–47) between handmade images (paintings and drawings), which evoke (it is an invented horror by an artist), and photographs, which show and count as evidence, thus provoking both shock and shame in the viewer.3 For a detailed account of how images are redeployed during the news coverage of a catastrophe, one can consult Geoff King’s article “‘Just like a movie’?: 9/11 and Hollywood Spectacle.”Additional informationNotes on contributorsAlina CherryAlina Cherry is Associate Professor of French at Wayne State University in Detroit, where she teaches contemporary French and Francophone literatures and cultures. She is the author of Claude Simon: Fashioning the Past by Writing the Present (Fairleigh Dickinson UP, 2016), as well as articles on Jean-Philippe Toussaint, Marguerite Duras, Claude Simon, and Joan Miró. Her current book project focuses on the 2010 Haiti earthquake and the 2011 triple disaster—earthquake, tsunami, nuclear meltdown—in Japan.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"L’Écriture et la mort : <i>Les Valises</i> de Jean Genet","authors":"Amin Erfani","doi":"10.1080/17409292.2023.2237805","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237805","url":null,"abstract":"AbstractOn a piece of paper, stored in one of the two suitcases that Jean Genet gave to his lawyer two weeks before his death—a testament to what he will not have published, and which will nevertheless be published by Albert Dichy thirty-four years after his death—Genet writes: “I committed the crime of escaping crime, of escaping prosecution and its risks. I said who I was, instead of living who I was, and saying who I was, I was no longer.” Through this gesture, Genet exposes a fundamental paradox: the act of writing consists of a betrayal; any medium remains at odds with the content it claims to summon. In the same way, Genet wrote that theater must be performed, not on stages, but in cemeteries and columbaria, to show how representation is above all a process of annihilation. This acute awareness of the deadly power of the medium eventually pushes Genet into an editorial—not a scriptorial—silence: he stops publishing but continues to write. This article examines the singular status of that writing and its relationship to death.Keywords: CirqueÉcritureGenetMortThéâtreValises Notes1 Pour une analyse plus étendue de cette déclaration, voir Erfani.Additional informationNotes on contributorsAmin ErfaniAmin Erfani is a professor of French and Comparative Literature at Lehman College, City University of New York, specializing in theater and literary and psychoanalytic theory. He is also an American English translator of the works of Valère Novarina and Bernard-Marie Koltès.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}