Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums最新文献

{"title":"Mirdzas Ķempes fenomens gelotoloģiskā tvērumā","authors":"Janīna Kursīte","doi":"10.37384/aplkp.2024.29.042","DOIUrl":"https://doi.org/10.37384/aplkp.2024.29.042","url":null,"abstract":"Mirdza Ķempe (1904–1974) was the most recognised among Latvian women poets during the Soviet era. The poetry she predominantly dedicated to the imagined Soviet utopia, Lenin, and the glorification of the Communist Party was artistically weak. Endowed with a remarkable sense of humour, Ķempe composed ironic and satirical impromptu poems and prose for the circle of her friends and acquaintances. These poetry and prose works have not been compiled and separately analysed until now. They have been preserved in a dispersed form, mainly in the memories of her contemporaries. The article includes extensive references to Ķempe’s works in the genres of humour and satire, collected from both published sources and interviews conducted by the article’s author with the poet’s contemporaries. The article analyses these works and conducts a separate analysis of Ķempe’s biographical circumstances within the context of the life-writing method, highlighting the gelotological aspect of the poet’s humour. It can be concluded that she is the only Latvian female writer for whom humour and satire have been a characteristic form of self-expression. She has neither collected nor published her humorous impromptus. The article represents the first attempt to illustrate how the ideological stereotypes created by Ķempe and other poets during the Soviet era were “thawed” and melted in the laughter space of Gelos. Even if it had been Ķempe’s greatest desire during the Soviet era, these humorous impromptus could not have been published. They demonstrate that when writing and publishing something one does not believe in, there must be some compensatory mechanism for the writers. In Ķempe’s case, this was internal laughter expressed in humorous poetry and witty short prose.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"4 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140438681","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":"Teātra kritika Covid-19 pandēmijas laikā (2020–2022)","authors":"Ieva Rodiņa, Ērika Zirne","doi":"10.37384/aplkp.2024.29.234","DOIUrl":"https://doi.org/10.37384/aplkp.2024.29.234","url":null,"abstract":"The experience of the pandemic period (2020–2022) has become part of the recent history of Latvian theatre, and the purpose of this article is to analyse the adaptation of criticism to the ‘new normal’ in terms of both form and content. The article’s research object is the reviews by theatre critics in the Latvian printed press and electronic media during the period of pandemic restrictions – from March 13, 2020, until spring 2022. After March 13, 2020, when the first outbreak of Covid-19 began in Latvia, inevitable confusion arose not only in theatres but also in the press writing about the theatre industry. The specialised cultural media had to create a new concept of content, shifting from performance reviews to the format of interviews or discussions. As theatres created new performative works of various formats, critics had to find new ways and vocabulary to write about them, including the use of new words such as ‘covid time’, ‘lockdown’, ‘online performance’, etc. New virtual performances contributed to discussions about whether or not e-theatre is a ‘real theatre’; critics began to pay attention to such technical aspects as the angle of the camera, the specifics of editing, the choice of close-ups, etc. Discussions became relevant on how to distinguish between performances created specifically for the virtual environment and recordings of performances that theatres showed during lockdown. Experimental formats of criticism emerged: in the spring of 2020, a cycle of fake reviews of performances that were not shown to the public due to the pandemic was published in the electronic journal Kroders.lv; inspired by the form used in Elmārs Seņkovs’s successful virtual performance “Iran Conference”, four critics founded the KuKū critics’ discussion club on the Zoom platform, its name describing the sense of the world at that time. Criticism changed from evaluative and analytical in the traditional sense to empathically descriptive, stimulating a discussion about the ethics of criticism. Categorical definitions turned into discussion questions and critical observations – into empathetic advice on how theatres can survive in pandemic conditions. The authors’ article explores these and other aspects of form and content by conducting a qualitative content analysis of Latvian theatre critics’ reviews and outlining the impact of the Covid-19 pandemic on Latvian theatre criticism.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"10 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140438787","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":"Brīdis starp: piesātinātās pauzes Viktora Freiberga grāmatās “Kinomāna slimības vēsture” un “Viktora otrā grāmata”. In memoriam Viktors Freibergs (1955–2022)","authors":"Velga Vēvere","doi":"10.37384/aplkp.2023.28.223","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.223","url":null,"abstract":"The purpose of this article is to analyze the texts of Viktor Freiberg’s two books using a phenomenological approach – paying special attention to the fragmentation of the text – ruptures and overlays, i.e. saturated pauses. A moment between, an inter-moment, a pause, an empty time in which traces of what was said before remain and which contain the seeds of the next text. The theoretical framework of the article consists of Edmund Husserl’s theory of inner time consciousness, William James’s stream of consciousness, Gilles Deleuze’s cinema phenomenology, and Marco Bellardi’s cinematic narrative theory. Husserl describes the transition or pause as a special moment of the present, a duration in which the past, present and future meet. To describe the temporal structure of consciousness, he uses concepts such as initial impression, retention and protention. In the characterization of the stream of consciousness by James, special attention is paid to the retrospective and prospective aspects of consciousness, the collision of which results in the “specious present” or the saturated pause (a moment in-between). The focus of the 2nd part of Deleuze’s work “Cinema” is the portrayal of time in cinema as duration, which is ensured by the subjective perception of the viewer. Bellardi studies intermediality, the use of cinematic methods in literature, or the cinematic narrative. Freibergs applies the techniques of cinematic narrative in his books – pauses, montage, the visuality of the texts (scenery), the author’s ironic presence in the text, etc. If the pauses in the “Medical history of cinema addict” are filled with autobiographical reminiscences/allusions, then in “Viktor’s second book” – the photographs by Agnese Zeltiņa, which break the text into fragments. The author himself also recognizes the importance of the pause in the non-chronological nature of his texts – they are like an imaginary movie without opening and closing credits, where the movie is formed in the consciousness of the reader/viewer.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116081814","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":"Andrieva Niedras prozas varoņu reliģisko uzskatu pārmaiņas","authors":"Linda Zulmane","doi":"10.37384/aplkp.2023.28.261","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.261","url":null,"abstract":"At the turn of the 19th /20th century, in an era of transition (fin de siècle), both social and economic processes, as well as aspects of education and spiritual culture, change. At the turn of the 19th/20th century, several authors focused on the solution of religious issues, Jānis Poruks (1871–1924) wrote the essay “Nākotnes Reliģija” (Religion of Future) (1894), Andrievs Niedra (1871–1942) published a series of articles in the magazine “Austrums” (1905), religious issues have been addressed in several writers’ prose. Niedra believes that he has found the key to the religious problem of the transition era. Religious ideals are the signposts that mark the course of human development, and religion is the promulgator of people’s life assignments. Art, religion, and virtue are transformed similarly; this transformation is determined by the solitary or collective individual’s heredity and environment. The religious views of the characters of Niedra’s prose (the stories “The Feeble Soul” (Nespēcīgā Dvēsele), “The Fourth Fellow” (Ceturtais Biedrs), “Without One’s Past” (Bez paša pagātnes), the novel “In the Smokes of a Clearing” (Līduma dūmos), etc.) are based on personalism as a direction of philosophy in the second half of the 19th century, Gustav Teichmüller (1850–1937), Alexey Kozlov (1831–1901), Lev Lopatin (1855–1920), Jēkabs Osis (1860–1919), Haralds Biezais (1909–1995), Voldemārs Maldonis (1870–1941), Kārlis Kundziņš (1850–1937), Alberts Freijs (1903– 1968). The aim of the article is to reveal the religious views of the characters of Niedra’s prose and their change at the turn of the 19th/20th century. The descriptive, comparative, psychoanalytical, and anthropological methods are used.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128496012","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":"Metateātris un tā izpausmes kultūras krīzes laikā","authors":"Vēsma Lēvalde","doi":"10.37384/aplkp.2023.28.016","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.016","url":null,"abstract":"The aim of this study is to analyse productions that have theatre as the object of their examination and reflection and which thus fit into the metatheatre paradigm. The research focuses on the theatre practices in Latvia and Lithuania during the last two years, when the socio-political situation has been affected by the global pandemic and, since February 2022, by the war in Ukraine. The geopolitical situation has had a devastating impact on the cultural and creative sectors, according to both research and surveys of theatre practitioners. One of the most pronounced trends during this period is the self-reflection of the theatre. The article includes both works whose literary source material reflects on theatre as a kind of microcosm (“More about life. Theatre”, “A performance that meets butter”, “Dubliners on Miera Street”, “Smiļģis”), as well as productions where the manifestations of metatheatre can be observed not in the verbal text, but in the details of staging or acting, also in the genre, and the way of staging (“for a better world”, “Othello”). A semiotic approach is used for the analysis of performances, which allows studying both the formal structure and content of the performance. There are various theories about metateatrality. The most radical is a view included in Richard Hornby’s research “Drama, Metadrama, and Perception” (1986) that drama always has metatheatrality because any drama is a part of a broader culture that cannot be seen in isolation because theatre uses the codes of that culture. Respecting Hornby’s opinion, the study analyses the current productions of theatres in a narrower sense – the central object of viewing and reflection of the production is the theatre itself, or the production includes allusions to life that resemble a theatre. In order to determine whether the current events of the time are reflected in the message of the production to the audience, attention is also paid to the socio-political situation, which showed signs of a cultural crisis during the period under research. The research concludes that different postulates of metatheatre theory can be identified in Latvian and Lithuanian theatre practice. However, the self-reflection of theatre does not exclude the influence of real life on the concept of directing and the perception of the production. Consequently, the intended message can take on a more contradictory tone or even become an allegory for the existing reality. Metatheatrality as a dramaturgical or directorial tool also makes sense in relation to the genre of the production. Metatheatre is a way of presenting art as a medium for human communication.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"245 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115109632","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":"Psalmu dziedāšanas tradīcija Stirnienes draudzē","authors":"Ieva Zepa","doi":"10.37384/aplkp.2023.28.098","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.098","url":null,"abstract":"Office of the Dead, or officium defunctorum, or saļmes is a form of traditional Catholic music – a complex ritual consisting of several hours long prayers sung at home, dedicated to saving the souls which, in accordance with Catholic provisions, have entered purgatory after death. The main function of this ritual is to pray, basically through singing, for the soul of the deceased. The goal of the study is to research of the tradition’s historical development in Stirniene and monitor its current preservation efforts. Empirical materials from the field research – interviews with local informants, biographical narratives, audio and video recordings – as well as articles in local and regional mass media have been used in the research. The tradition in Latgale was introduced by Jesuits at the end of the 18th century. The first church in Stirniene parish was a Jesuit mission centre in the 18th century. It can be concluded that the primary purpose of the chant is to sing and pray for the soul of the deceased. It can be assumed that the Office of the Dead chanting tradition in Stirniene, just like in other parts of Latgale, could have begun at the end of the 18th century and thus may have existed for more than 200 years. The texts of Christian psalms and the original Gregorian chant have transformed and intertwined with folk singing practices; the ritual or its parts are traditionally transferred orally. Usually, saļmes are sung before and after funerals, on death anniversaries, specifically on November 1 and 2, as well as throughout November and in cases of supernatural occurrences at home. Through two centuries and to this day, Office of the Dead chants in Stirniene is a common religious practice, and almost every family has experienced it, as the chants are a crucial part of the funeral rites. In 2021, Saļmes Stērnīnē was included in the National List of Intangible Cultural Heritage.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"440 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116551018","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":"Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados","authors":"Ieva Rodiņa","doi":"10.37384/aplkp.2023.28.215","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.215","url":null,"abstract":"Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127687909","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":"Dramaturģijas komunikatīvie aspekti jaunākajās izrādēs bērnu auditorijai Latvijas un Baltijas teātru festivālos","authors":"Ilze Kļaviņa","doi":"10.37384/aplkp.2023.28.041","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.041","url":null,"abstract":"The question of the meaning of text and acting is becoming increasingly important in modern theatre practice when the expressive possibilities of stage works seem to have no limits. The processes show that the number of performances staging the texts of previously written pieces is decreasing, instead co-creation, improvisation, or performance is becoming the organising principle of the stage. The principles of a playwright’s work change, and the emphasis on the functions of the drama changes. One of the points of reference is the viewer and the interaction between the stage and the audience. The article uses a method developed by a group of Norwegian researchers to characterise different levels of interaction. Performances for young audiences were analysed, where the communication element is of particular importance, since the perceptions and cultural experiences of adult professionals and child audiences differ significantly. The typology of openness – the proximity of dramaturgy allows to describe the specifics of the actors’/performers’ activities and the level of audience participation. From a semiotic point of view, the accent shifts from the sender to the receiver, from the professional adult to the childlike viewer. From a performative point of view, open dramaturgy emphasises communication with the audience and the temporal dimension of the event, bringing the performance closer to the concept of a cultural event.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114705205","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":"Skatījums uz apkaimju robežām: Āgenskalna piemērs","authors":"Justīne Jaudzema","doi":"10.37384/aplkp.2023.28.140","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.140","url":null,"abstract":"In this article, attention is focused on how the city’s residents see the boundaries of their residential area, focusing on the Pārdaugava part of the city of Riga and, more specifically, on the Āgenskalns area. At the beginning of the article, it is shown how neighbourhood boundaries are marked in the city planning, but further, using the interviews conducted within the framework of the project “Experience in the city: narratives, memories and heritage of the place” supported by the Latvian Science Council, the attention will be focused directly on the narrative of the residents living in Āgenskalns about the boundaries of this neighbourhood. Several aspects are revealed in people’s stories that determine how the neighbourhood’s boundaries are perceived – important places and objects, and the location of the narrator’s residence in relation to the central objects, as well as the desire to distinguish one’s own neighbourhood from others. At the end of the article, it is concluded that each individual’s point of view on where are the boundaries of neighbourhood, in this case, the borders of Āgenskalns, may be different, but there are also some parts of the neighbourhood whose importance appears in all stories. It was also concluded that the stories of the residents of Āgenskalns show a desire to separate Riga into the right and left banks of the river Daugava emphasising their differences, however, only in some narratives people identify very clearly with the specific neighbourhood.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122253323","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":"Vietas nozīme stāstījumos par dejošanu Pārdaugavā","authors":"Elīna Gailīte","doi":"10.37384/aplkp.2023.28.128","DOIUrl":"https://doi.org/10.37384/aplkp.2023.28.128","url":null,"abstract":"It is important for people to structure the space around them and give it meaning, and this is evident in the stories of people involved in dance, not only talking about the process of dancing itself but also about the place and space where they dance. The project “Urban Experiences: Narratives, Memories and Place Heritage” (lzp-2020/1-0096), implemented by researchers from the Institute of Literature, Folklore and Art at the University of Latvia and launched in 2021, includes a study in Rīga, Pārdaugava. It involved interviews with representatives of folk dance and stage folk dance groups working in Pārdaugava. In order to deepen the understanding of an important community of practitioners of Latvia’s intangible cultural heritage – dancers and dance teachers – the aim of this article is to find out where folk dance and stage folk dance perform today, which are the places they pay attention to and highlight as important, and how they shape their everyday dance life. Experiencing different places and spaces in the city shapes both the identity of dancers and dance teachers and the perception of a particular place. In other words, there is a two-way interaction: the person shapes the place, and the place shapes the person. Through semi-structured interviews with members of the dance community and subsequent analysis, the place where classes and concerts take place is crucial in sustaining their everyday practices. Rehearsal spaces create an atmosphere for everyday activities and are also important for socialising and maintaining a sense of community. Although most dancing takes place indoors, in recent years, there has been more dancing outdoors. And although this experience has not always been seen as a success, it has provided a different perspective on the space around us, and an opportunity for people who do not dance to be exposed to different dance practices. The article “The importance of place in narratives about dancing in Pārdaugava” analyses the contexts in which places appear in the narratives of people involved in dance, the meanings they attach to them and what they highlight as important characteristics of the dance environment, which in turn constitute this important part of the intangible cultural heritage.","PeriodicalId":127071,"journal":{"name":"Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116038529","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}