Contemporary French and Francophone Studies最新文献

{"title":"Les ondes musicales de Michaël Ferrier","authors":"Alexis L. Chauchois, Gilles Glacet","doi":"10.1080/17409292.2023.2237807","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237807","url":null,"abstract":"AbstractThe waves invade the work of Michaël Ferrier. They propagate there in all their forms, whether seismic, acoustic, electromagnetic (radioactivity), mechanical (wave) or gravitational. The waves go so far as to settle at the very heart of the act of writing to establish themselves as a principle. So, Ferrier transcribes them like a seismograph would, with the avowed objective of leaving a trace of memory and fighting against oblivion. Because a seismogram requires the eye of the technician to be deciphered, the writer adapts his text and chooses a medium that is more immediately and sensibly accessible. The music, itself propagating waves, will make the transcribed vibrations perceptible to the reader. This article reveals the means used by Ferrier to construct a musical text, and shows how this new composition of the text allows the writer to anchor it even more in the memories.Keywords: Disasterwavesseismographmusicmemoryreveal Additional informationNotes on contributorsAlexis L. ChauchoisAlexis L. Chauchois is an Assistant Professor of French at Mercer University. His interests span the 20th and 21st centuries, with a specialization in French & Francophone literature. He has been a Professor in Civil Engineering in France for several years.Gilles GlacetGilles Glacet received his Ph.D. from Emory University with a specialization in twentieth-century French literature. His areas of interest include nineteenth- and twentieth-century French literature, contemporary French literature and culture, as well as Francophone literature.","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":"135841790","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":"Discours <i>rap-portés</i> : analyse médiologique de l’interaction entre rap et littérature","authors":"Francesca Aiuti","doi":"10.1080/17409292.2023.2237787","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237787","url":null,"abstract":"Abstract In this article, I will analyze French rap music as a form of “neolittérature.” Rap music actualizes literature both aesthetically and politically. Through media interaction, rap music spreads literary content across different channels and audiences. Therefore, literature enters into a new semantic and pragmatic context in which it is reformulated by new postcolonial actors. As a “postcolonial product,” French rap music re-thinks literature through a decolonial approach to build new histories that are more inclusive in today’s society.","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":"135841540","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":"Recipes, Poems, and Memory in Contemporary Louisiana Francophone Literature","authors":"Chase Cormier","doi":"10.1080/17409292.2023.2237800","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237800","url":null,"abstract":"AbstractLouisiana French literature, like its cuisine, is fluid, plural, and forever evolving. Language and food are two vital mediums through which Louisianans express identity, emotions, memory, and culture. Even as Louisiana’s French language faced a near erasure in the mid-twentieth century due to Americanization, cultural expression and evolution thrive at the intersection of oral literature and cuisine. Food, as a theme, lexical field, and symbol helps contemporary cooks and writers define their own identity. In the review of creative writing, Feux Follets (1991–Present), food plays a vital role in the quest for identity among its contributors. The creolization of Louisiana culture manifests itself in creative expression, be it a dish in Melissa Martin’s Mosquito Supper Club (2020), or a poem in Feux Follets. This article demonstrates how the intersection of emblematic food items and creative writing provides a space for the evolution of a literary identity that is as vibrant and creolized as Louisiana cuisine and culture in general. Despite the fluidity and plurality of identities, writers of cookbooks and poetry write Louisiana cuisine as a metaphor, image, and cultural object to amplify Franco-literary voices in the twenty-first century.Keywords: RecipespoetryLouisianacookbooksCajunmemory Notes1 “Because little north winds mean that we will surely be receiving an invitation from a neighbor for some gumbo. The delicious smell of roux browning in cast-iron pots, where soon we will find hot gumbo and chase the cold from our bodies—that delicious smell spreads to each village riding the little north winds.”2 Throughout this paper, the term Indigenous is used to describe one or a combination of Louisiana’s four federally recognized aboriginal tribes: The Chitimacha Tribe, the Coushatta Tribe, the Jena Band of Choctaw Indians and the Tunica-Biloxi Tribe and, as of 2021, its state-recognized tribes: the Adai Caddo Indians of Louisiana, the Bayou Lafourche band of BCCM (Biloxi-Chitimacha Confederation of Muskogee), Choctaw-Apache Tribe of Ebarb, Clifton Choctaw Tribe of Louisiana, Four Winds Cherokee Confederacy, Grand Caillou/Dulac Band of BCCM, Isle de Jean Charles Band of BCCM, Louisiana Band of Choctaw, Natchitoches Tribe of Louisiana, Pointe-Au-Chien Tribe, and the United Houma Nation.3 And I think that the smell must have travelled a bitBecause—all of a sudden—we were surrounded by a bunch of strangersThey asked us“What is that?”“What is ‘gumbo’?”“It’s like a soup?”This was before Popeye’s and Emeril LagasseAnd Cajun chicken and Cajun fries and allMom responded: “Euh… yes. It’s like a soup.”And she gave them some in little cupsAnd they said that it’s good, quite good.But I don’t think that they knew just how good it was.You know, I don’t remember much from my childhoodMy memory was never goodBut I remember that gumboBecause it was cold outAnd you always want gumbo when it’s cold out.4 Now you add the seafood:…the creatures form a line for ","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":"135841542","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 la place des sons dans l’écriture de Leïla Sebbar et Assia Djebar","authors":"Cajsa Zerhouni","doi":"10.1080/17409292.2023.2237783","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237783","url":null,"abstract":"AbstractThis article sets out to interrogate the place and implications of sound in the writing of Assia Djebar and Leïla Sebbar. By uncovering the recurring representations of the acoustic sphere and the pure auditory experience of Arabic or French voices in these writers’ autobiographical works, I contend that sound, in the bilingual, postcolonial context, operates in the construction of a hybrid subjectivity. Seemingly conveying the inclination towards an original and essential identity, symbolized by the nostalgia of the female Arabic voice, as well as indicating an ambivalence in relation to both languages, the resonance of the non-semantic voice in these texts foremost seems a strategy to move beyond conflicting linguistic identities. United in the homogenous sonorous and paralingual sphere, the two languages ultimately coexist and resonate in the Francophone literary text, which resembles, in fact, “the third place.”Keywords: Assia DjebarLeïla Sebbarécrituresonoritéhybriditélittérature francophone Notes1 Cet article constitue une adaptation de ma thèse de master de l’Université de Uppsala, Suède, “L’écriture des sons chez Assia Djebar et Leïla Sebbar : espace de la subjectivité hybride” [http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-495765].2 Djebar affirme, dans un entretien avec Laure Adler sur France Culture, que ses tout premiers souvenirs étaient des souvenirs auditifs. Née dans un pays méditerranéen, dont l’air était plein de paroles, saturé de mots, de langues diverses, de langues du dehors, et où le milieu des femmes à l’intérieur était, lui aussi, un espace rempli de bruits, de soupirs ou de cris qui explosaient, l’auteur se souvient d’une coulisse sonore qui n’était pas simplement le vacarme, mais qui impliquait une proximité, “Je dirais que ce monde sonore, tout de même, mes premières impressions, c’est de l’avoir reçu comme une chaleur” (Adler).3 Ces deux récits sont parus en 2003 et 2010 respectivement. Un troisième volet, Lettre à mon père, a été publié en juin 2021 aux éditions Bleu autour, qui a publié en un tome ces trois récits portant sur le thème de l’absence de la langue arabe.4 Cette question sera développée dans ma thèse de doctorat.Additional informationNotes on contributorsCajsa ZerhouniCajsa Zerhouni is a doctoral student at the University of Gothenburg, Sweden. This article is an adaptation of her Master’s thesis, “L’Écriture des sons chez Assia Djebar et Leïla Sebbar : espace de la subjectivité hybride” (University of Uppsala, 2022). Previously a literary translator of French and English, and a musician, her research bears on the thematization of the semiotic field, of sound, and the non-semantic voice, in the autobiographical writing of Assia Djebar and Leïla Sebbar.","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":"135841786","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":"Like the Playful Clones in the Forest: An Experiment in Reading Marie Darrieussecq’s <i>Notre vie dans les forêts</i> as an Instance of AI","authors":"Sean Singh Matharoo","doi":"10.1080/17409292.2023.2237797","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237797","url":null,"abstract":"AbstractMarie Darrieussecq’s Notre vie dans les forêts (2017) is a science-fiction novel about cloning. Alternatively, it could be described as a notebook composed by a fugitive clone named Viviane writing before her imminent death in the tunnels constructed beneath a forest on the ghostly fringes of an unnamed city. Viviane has unplugged from this socially engineered illusion by following one of her former patients and a member of a fugitive group of scavengers and hackers who free their anesthetized clones. But, the fugitives comically struggle to prepare their clones—who just want to play—for the egalitarian, just, and liberatory future in which they hope. In this paper, I first provide a close reading of the narrative of Darrieussecq’s novel, focusing on how it teaches us to read it subjunctively and contingently. I then argue that the clones’ playfulness expresses an energy source resistant to exploitation. I conclude with a hypothesis: the book itself could be understood as an instance of artificial intelligence that resists exploitation because it teaches us to read subjunctively, contingently, and playfully.Keywords: Darrieussecqscience fictionplaycloningAIreading AcknowledgmentThis paper was written with the aid of a Carolina Postdoctoral Program for Faculty Diversity fellowship at the University of North Carolina at Chapel Hill. I would like to thank my colleagues in the Department of Romance Studies, whose energizing comments about an early version of this paper have been invaluable. I would also like to thank the conference organizers and participants of the 39th Annual 20th and 21st Century French and Francophone Studies Colloquium at the University of Pittsburgh, where I presented a later version of this paper in March 2022. The generous feedback I received at the colloquium has been equally invaluable.Additional informationNotes on contributorsSean Singh MatharooSean Singh Matharoo is Assistant Professor & Jacques Hardré Fellow of French and Francophone Studies at the University of North Carolina at Chapel Hill, where he is writing The Damned of the Anthropocene: Performatively Modeling Energy Aesthetics for a New Structuralism.","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":"135841791","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":"Literary Plurimateriality and Poetico-political Vibrations in Muriel Pic’s Work","authors":"Corentin Lahouste","doi":"10.1080/17409292.2023.2237796","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237796","url":null,"abstract":"AbstractMore and more works testify to the pictorial turn which marks francophone literary production since the end of the twentieth century, “immersed in the world of the modern images and mass media,” as Magali Nachtergael pointed out. The textual and visual regimes are thus no longer inscribed in a logic of competition but arranged in a perspective of co-adjunction, of fertile crossings. From this perspective, we examine Affranchissements (2020) by Muriel Pic; this “wandering-book” is structured in six parts which deploy a nonlinear narrative, brimming with many visual materials and where everything starts from “the magical grimoire of a stamp album” and from a “debt to be paid.” This article analyzes this fundamentally hybrid book which, in a decompartmentalization of semiotic regimes, activates a poetic plurimateriality and makes of the literary space a—political—place of renewal of the real, of a redrawing of the material and symbolic space, as Jacques Rancière would say.Keywords: IconopoeticitySemiotic HybridityPoetic plurimaterialityMontageDestandardizationLiterature and politics Notes1 This contribution is originally from a paper presented in French, in relation to the issues of the research I carried out within the “HANDLING Project,” that has received funding from the European Union’s Horizon 2020 research and innovation program (grant agreement n° 804259); thanks to Alexandra L. Martin for her help in translating it into English. Excerpts quoted from Muriel Pic's work are translated to preserve fluidity. All translations are our own. The reworking and finalisation of the article was conducted, for their part, as part of the Banting postdoctoral fellowship I am carrying out at Laval University (NRF: 180035), which was funded by the Government of Canada through its federal granting agencies (CIHR/SSHRC/NSERC).2 Found in a passage in the exact middle of the book, in the third part.3 Translator’s Note: In French, “affranchissement” means both “postage,” as in conveying letters by mail, as well as “emancipation,” creating an internal wordplay in the work’s title and content.—A.L.M.4 In her notes on documentary montage that follow his text En regardant le sang des bêtes, Pic refers to it as a practice that “couples shocks, surprises, astonishments” (82).5 8 for the first, 5 for the second, fourth and fifth, 9 for the third and 6 for the sixth > PI: 2000; 1840; 1719; 1927; –225; 1965; 1911; 1949; PII: 0; 2001; 1999; 2019; 1918; PIII: 1923; 1936; 1914; 1872; 1907; 1917; 1868; 1933; 1940; PIV: 1949 bis; 1944; 1875; 1598; 2018; PV: 1592; 1953; 1721; 1877; 1969; PVI: 1989; 200; 2001 bis; 1997; 2016; 2017.6 “From a ghost, Jim became a fantasy” (199), Pic argues in the fifth part of the book.7 See back cover.8 “Now we dance looby, looby light / Now we dance looby, as yester night / Shake your right hand a little / Shake your left hand a little / Shake your head a little / And turn you round about. / À présent, nous dansons follement, folle lumière","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":"135841538","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":"Photographie et réserve d’imaginaire","authors":"Perrine Gaudry","doi":"10.1080/17409292.2023.2225375","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225375","url":null,"abstract":"Abstract The first hermaphrodite photographs date from 1860 by Nadar. They are mostly framed by an anatomical and medical perspective according to which hermaphroditism is a pathology. However, one can read something much more ambiguous in this series. Other relationships are played at the margins of categories of gender, sex, sexuality, reality and fiction. I propose to re-read these photos according to the perspective of what I call a “reserve of imagination.” Reserve of imagination consists of dream visions from which new universes emerge. It also emphasizes the potential for heterotopic places to remain marginalized. This other interpretation of Nadar was developed in the photographic sense of the term; it developed afterwards through the work of SMITH, French contemporary artist working among other things on gender. The very idea of indeterminacy, which constitutes SMITH's queer thinking and aesthetics, was already present in Nadar's notable use of blurring and framing. SMITH's photographs of intersex people radically overturn the anatomical and medical gaze: intersex is no longer a pathology. If, the medical thought of the 19th and early 20th century would have liked to visually include hermaphrodites in the category of the degeneration, it did not succeed, thanks to this reserve of imagination.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48109447","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":"Mediatizing Poverty: The Ethics and Aesthetics of Adaptation in Agnès Varda’s Sans toit ni loi","authors":"M. Dominick","doi":"10.1080/17409292.2023.2225359","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225359","url":null,"abstract":"Abstract As a fictional adaptation of the life of a real-life drifter (Setina Arhab), Agnès Varda’s 1985 film Sans toit ni loi presents the filmmaker with certain ethical questions. How can one ethically mediatize the poverty of others? How can one create and sell images of the poor which do not voyeuristically, hypocritically, or reductively exhibit them? Can one represent those who may refuse representation? I claim that Varda engages with these questions via a metafilmic reflection on the two means by which she might adapt Setina to the cinematic screen: documentation and aestheticization. Whereas Varda first seems to side with the plasticity of aestheticization over the strict mimesis of documentation, she then problematizes such a choice by dialogically questioning her decision not merely to document Setina but to transform her into a protean aesthetic spectacle for exhibition. This analysis reveals that Mona’s death by exposure is not random but rather concretizes Varda’s ethical concerns with the act of capturing and exhibiting—with mediatizing—life.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46968248","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":"Speaking Out: Intersectional Denunciations of Sexual Assault and Police Responses in Michaela Coel’s <i>I May Destroy You</i> and Édouard Louis’ <i>Histoire de la violence</i>","authors":"Salvador Lopez Rivera","doi":"10.1080/17409292.2023.2225371","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225371","url":null,"abstract":"Increasingly diverse Western European societies have developed their own conversations around intersectionality that focus on local issues. Two artists and public intellectuals that demonstrate this increasing level of engagement with intersectionality in Western Europe are writer and actress Michaela Coel and writer Édouard Louis, from England and France, respectively. In the 2020 TV series I May Destroy You, Coel presents the story of a working-class English black writer named Arabella who has been sexually assaulted. She also gives the spotlight to Arabella’s best friend, Kwame, a black gay man who has also been assaulted but whose experience differs greatly from Arabella due to his gender and sexual orientation. I May Destroy You introduces its viewers to intersectionality by insisting on how Arabella and Kwame’s specific identities lead to different outcomes. Likewise, French writer Édouard Louis’s 2018 novel Histoire de la violence revolves around the author’s rape by a man of North African descent in order to examine the treatment of queer people and ethnic minorities by the police and French society at large. Both creators have succeeded in making their audiences aware of how intersectionality is a necessary tool to comprehend systemic inequality in their respective countries.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135950894","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":"Mediating Memory: The Paris Commune and Postwar French Cinema","authors":"R. Scullion","doi":"10.1080/17409292.2023.2225364","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225364","url":null,"abstract":"Abstract In the late summer of 1944, members of the Comité de la Libération du Cinéma Français (CLCF) seized the historical moment and captured on film the popular uprising that swept across the capital city in the week that preceded the arrival of Allied armies in Paris on 25 August, 1944. For filmmakers such as Jean Grémillon, an active member of the French Resistance and founding member of the CLCF, the scenes of ordinary Parisians battling Hitler’s occupying forces evoked memory of the Paris Commune, whose parallels with the postwar present Grémillon sought to highlight in La Commune de Paris, the feature film he began envisioning in the final months of the war. This essay considers the political climate that doomed Grémillon’s project to failure and calls attention to a second film, a 1951 documentary short, also titled La Commune de Paris, that Robert Ménégoz was able to bring to completion, but that also fell into the oblivion into which government censorship cast it. A central question the essay raises concerns why the efforts postwar filmmakers made to recall the history of the Paris Commune met with such stiff resistance in the years immediately following the Nazi Occupation of France.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41836582","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}