WSQ最新文献

{"title":"Ben & Brianne @ Home","authors":"Brianne Waychoff","doi":"10.1353/wsq.2023.a910090","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910090","url":null,"abstract":"Ben & Brianne @ Home Brianne Waychoff (bio) Click for larger view View full resolution Brianne Waychoff. Ben and Brianne @ Home, 2020. Pen and ink. [End Page 273] Click for larger view View full resolution Brianne Waychoff. Ben and Brianne @ Home, 2020. Pen and ink. [End Page 274] Click for larger view View full resolution [End Page 275] Brianne Waychoff Brianne Waychoff, PhD, was associate professor in the Department of Speech, Communication, and Theatre Arts at Borough of Manhattan Community College. She was the founder of the Gender and Women’s Studies AA Program at BMCC, which she coordinated across departments. Brianne’s published articles and creative scholarship appear in Pacific Affairs, Text and Performance Quarterly, Liminalities: A Journal of Performance Studies, and PAJ: Performing Arts Journal. She has served on the Performance Studies National Review Board, as chair of the National Women’s Studies Association Community College Caucus, and on the editorial boards of Text and Performance Quarterly, Liminalities: A Journal of Performance Studies, and Women and Language. Dr. Waychoff’s work used performance as a method for investigating issues of gender justice. She danced with the Joffrey Ballet and trained with Anne Bogart and the SITI Company, Augusto Boal, Goat Island Performance Group, and with a range of practitioners in the Japanese Avant-Dance form butoh. She was a former member of the International WOW Company. Her performance work has been presented at professional venues and festivals throughout the United States and abroad. Additionally, with her background in community organizing and activism, she served on the Faculty Advisory Board for the New York City Alliance Against Sexual Assault. In 2016 she was recognized as a “change-maker” at the inaugural United State of Women Summit.* Footnotes * Dr. Brianne Waychoff passed away on July 25, 2022, from 9/11-related kidney cancer. She was general editor of WSQ, with Dr. Red Washburn, from 2020 until her passing. Dr. Brianne Waychoff was also guest editor of WSQ’s Nonbinary issue, along with Dr. Red Washburn and Dr. JV Fuqua. Copyright © 2023 Brianne Waychoff","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735565","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":"“Mic check, one, two, one, two”: Hip Hop Heresies: Queer Aesthetics in New York City","authors":"Rocio Rayo","doi":"10.1353/wsq.2023.a910088","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910088","url":null,"abstract":"“Mic check, one, two, one, two”: Hip Hop Heresies: Queer Aesthetics in New York City Rocio Rayo (bio) Shanté Paradigm Smalls’s Hip Hop Heresies: Queer Aesthetics in New York City, New York: New York University Press, 2022 Shanté Paradigm Smalls comes in hot with their recently published Hip Hop Heresies: Queer Aesthetics in New York City. In the first few pages, Smalls clearly defines why NYC, why aesthetics, and why queer; then shifts deeper into defining both queer and Black aesthetics—ultimately answering the question of why hip hop. As they remind us that “hip-hop is middle-aged,” they very clearly maintain it is a genre housed squarely with young adults and teenagers. Hip hop’s mercurial nature is one that constantly changes underfoot—making it solid ground to build a queer, Black, hip hop aesthetic framework. Smalls decided to locate hip hop aesthetic in “disorganized street culture” permitting messiness. This beautiful chaos allows the reader to jump on the beat Smalls produced through their demand to disrupt “and eradicate settled public modalities” of what “authentic” hip hop meant (and means) in NYC. They state, “The book argues that New York City hip-hop artists use queer, Black, and hip-hop aesthetics to queerly—disruptively, generatively, inauthentically—articulate gender, racial, and sexual identitarian performances through specifically New York City based aesthetic and artistic practices and cues” (24). Importantly, Smalls clarifies that this is only possible due to the “creativity and expansiveness of Black genius.” Hip Hop Heresies is broken up into four chapters, with an introduction and conclusion. The first chapter, “Wild Stylin’ Martin Wong’s Queer Visuality in New York City Graffiti,” queers the narrative that there is a “lone wolf” success story in hip hop and instead focuses on the origin point, where different styles, cultures, and people intersect. While the protagonist of this chapter is Martin Wong and his contributions, the undercurrent is the liminal space that focusing on Wong carves out and defines in relationship [End Page 265] to Latinidad and Blackness within a hip hop context. Wong’s location on the lower east side of Manhattan connects him to “Nuyorico” while simultaneously erasing his connection to Blackness. Smalls does a phenomenal job of locating him within the body of a Black hip hop aesthetic history. In their second chapter, “Ni[99]a Fu: The Last Dragon, Black Masculinity, and Chinese Martial Arts,” Smalls “offers an alternative model for Black racial formation, queer heterosexual Black masculinity, and a hybrid cultural identity” (59; spelling changed by me). Focusing on “The Last Dragon” allows Smalls an opportunity to reorient heterosexual Black masculinity as queer by removing it from an embodied experience “in relation to white, patriarchal, hetero norms” to a Black masculine experience that challenged controlling images of what it meant to be both Black and masculine. Leroy’s popular performance (","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735938","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":"Palmetto, from Black Girl in Triptych , Part 1","authors":"Dána-Ain Davis","doi":"10.1353/wsq.2023.a910093","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910093","url":null,"abstract":"Palmetto, from Black Girl in Triptych, Part 1 Dána-Ain Davis (bio) The short man muttered to himself as he limped toward his seat in the fifth car of the Palmetto leaving Charleston, South Carolina . . . the car where Negroes sat. His body was slight, wisp-like, but his mouth sounded like he was swishing seven marbles. He spoke kind of funny because apparently, he never left his Haitian accent back in Acul-du-Nord, even though he arrived in Edgefield County, South Carolina, ten years earlier. The pout of his lips, from which the accent fell, was why they called him Frenchy—a name a lot of South Carolinians called Haitians who first came to Charleston in the 1700s from Saint Dominique. Frenchy boarded the train in his gray pants and light-blue short-sleeve polo shirt. He had the collar up, and the top two buttons were undone so his gold necklace was visible. His hair was slightly conked and combed back. Such a dapper man might have had a larger suitcase, but his was just a medium-size, tan tweed and cognac-colored leather. His valise was the size of man who had left someplace in a hurry. Yet, his manicured nails—perfectly square with rounded edges—told a tale of living a well-appointed life. Those hands, almost dainty, pulled out a ticket from his pant pocket. It read “15A,” which came as a relief because it was the window seat. When Frenchy found the location, a young woman was already getting settled in 15B and was reaching over the aisle to hand the two little girls across from her, orange sections in a napkin. Frenchy sighed because now he was going to have to navigate another person taking up space in his own small world. The young lady looked up as Frenchy lingered by the arm of the seat before hoisting his suitcase to the overhead bin. The suitcase, the size of which suggested its owner did not [End Page 285] have much or did not plan to stay where he was going for very long, nestled in its place much more easily when Frenchy turned it sideways. Now came the small talk that would get him to his window seat. Ma’am that’s my seat. Ok, give me a second, she said. Frenchy waited all of five seconds for the woman to swivel her hips and legs to the right so he could inch his way past her. Frenchy made his wispy body even smaller by holding in his nonexistent stomach and side-shuffled to his seat. When his body arrived, he sat down and was so glad to be doing so. Now he could rest his head on the window instead of taking a chance that when sleep came to get him, his head would drop and lean into the aisle. That could be the job of the lady, he thought. She could create the disturbance in the aisle, not him. As soon as Frenchy sat down, one of the two little girls said, Mama, when we gonna get there? The little girl’s mother looked around, checking people’s faces against the volume of her daughter’s voice. She put a red-painted finger up to her lips and told her daughter, Gilda-girl, hush, don’t nobody wanna hear you. Gilda-girl whined, But Mama, I","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735315","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":"Self-Portrait with Mom Fixing My Hair","authors":"Linc Ross","doi":"10.1353/wsq.2023.a910064","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910064","url":null,"abstract":"Self-Portrait with Mom Fixing My Hair Linc Ross (bio) In the early ’90s I played a lot with drag and photography as a way to explore my feelings about my own gender. We had words like “androgynous,” “tomboy,” and “soft-butch.” Currently, identifying as nonbinary seems much more accurate as I don’t identify as male and I also don’t identify as female. My explorations were more psychological and when I played with drag in relationship to another person it got really interesting. My mom is probably the person in the world who I most formed my gender identity in relationship to. She lives now with advanced dementia and continues to be nonjudgmental, embracing me for all of who I am. [End Page 24] Click for larger view View full resolution Linc Ross. Self-Portrait with Mom Fixing My Hair, 1992. Silver gelatin print. [End Page 25] Linc Ross Linc Ross has worked in China, Kyrgyzstan, Azerbaijan, Europe, and North Africa, and their work has been exhibited internationally in museums and galleries. Ross has been a grantee of the Trust for Mutual Understanding and Asian Cultural Council; an artist-in-residence at The View Art Gallery, Gansu, the Watermill Center, New York, and CICRP in Marseilles, France; a Fellow of the Bronx Museum AIM Program; and a recipient of the Hayward Prize through the American Austrian Foundation. Ross has also taught at Parsons School of Design, Columbia University, and at the Harvey Milk School, where they developed a photography and video program for LGBTQ youth. Ross holds an MFA from Columbia University and a BA from Sarah Lawrence College. Ross can be reached at studiolisaross@gmail.com or www.studiolisaross.com. Copyright © 2023 Linc Ross","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735319","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":"The Nonbinary Blackness of Pauli Murray and Ornette Coleman: Constraint and Freedom within the Glandular Imaginary","authors":"Susan Stryker","doi":"10.1353/wsq.2023.a910079","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910079","url":null,"abstract":"Abstract: This short essay reflects on desires for body modification expressed by civil rights activist Pauli Murray and jazz innovator Ornette Coleman to offer some preliminary thoughts on the concept of “nonbinary Blackness.” It compares the different ways Murray and Coleman negotiated the “glandular imaginary” that informed mid-twentieth-century ideas about sex, gender, and identity, and influenced decisions they made about their own bodies. The transmasculine Murray reconciled to living as a woman once medical examinations determined that there was no hormonal or gonadal cause for her/their masculine identifications, while Coleman, a seemingly cisgender man, drew creative insight from his decision to undergo the genital surgery of circumcision.","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"376 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735936","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":"The Resistant Body","authors":"Abby C. Emerson","doi":"10.1353/wsq.2023.a910075","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910075","url":null,"abstract":"The Resistant Body Abby C. Emerson (bio) This visual text was co-created with a nonbinary child. At the center is an outline of their body with quotes from their own moments of self-definition. They also contributed to the design and artistic choices of the piece. On my end, it is a form of literature review exploring the historicized creation of the gender binary and the deep ties that political project has to white supremacy (Bederman 1995; Schiebinger 2004; Schuller 2018). Surrounding their body are quotes from my reviewed texts arranged haphazardly in layers of white paint and black marker. These narratives are visible but somewhat difficult to read, similar to how these discourses are around us all the time, impressing upon young bodies and forcing them into constrained ways of being. They’re hard to see, read, and most importantly, resist. In addition to text drawn from academic sources about the ties between the gender binary and white supremacy, some of the text fragments are quotes from adults that question children’s capacities to define themselves as nonbinary. The artwork incorporates not just macro social narratives, but also the micronarratives from transphobic teachers, family members, and friends. The yellow halo reads as an exertion against all those narratives; a visual representation of the force nonbinary children are emanating in their resistance. Fluidity and movement that young children demonstrate as they move amongst genders and pronouns is often read as confusion when really it is a resistance to the sex-based paradigmatic narrative laid out for them. [End Page 170] Click for larger view View full resolution Abby C. Emerson. The Resistant Body. Acrylic and ink on paper. Abby C. Emerson Abby C. Emerson is an assistant professor in elementary special education at Providence College. Her research and teaching centers on anti-racist and abolitionist teacher education, a critique of whiteness in education spaces, parenting as a site of social change, and arts-based research methodologies. Previously, she was an elementary school teacher for ten years in NYC public schools. During that time she was named the 2018 National Association for Multicultural Education’s Critical Teacher of the Year. Her writing about teaching and learning can be found in Radical Teacher, Whiteness and Education, Review of Research in Education, and Bank Street Occasional Paper Series. She can be reached at aemerso1@providence.edu. Works Cited Bederman, Gail. 1995. Manliness and Civilization: A Cultural History of Gender and Race in the United States, 1880–1917. Chicago: University of Chicago Press. Google Scholar Schiebinger, Londa L. 2004. Nature’s Body: Gender in the Making of Modern Science. New Brunswick, NJ: Rutgers University Press. Google Scholar Schuller, Kyla. 2018. The Biopolitics of Feeling: Race, Sex, and Science in the Nineteenth Century. Durham, NC: Duke University Press. Google Scholar Copyright © 2023 Abby C. Emerson","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735561","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":"Not to Be Dramatic But","authors":"Kyra Gregory","doi":"10.1353/wsq.2023.a910080","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910080","url":null,"abstract":"Not to Be Dramatic But Kyra Gregory (bio) My work is rooted in an existential search for self and community, and driven by my personal experiences with queerness, mental illness, and spirituality. As a transmasc/genderfluid/nonbinary person, I am drawn to self-portraiture as an attempt to externalize my varied self-perceptions and visualize my constantly morphing gendered self-states. These prints are physical expressions of my experiences and are manifestations of myself that are untranslatable into written or verbal language. [End Page 218] Click for larger view View full resolution Kyra Gregory. Not to Be Dramatic But, 2022. Woodblock relief print on paper. [End Page 219] Kyra Gregory Kyra Gregory (they/them) is a printmaker, painter, and collage artist born in Richmond, Virginia, and currently living and working in Queens, New York. They graduated from Princeton University in 2019 with a major in visual arts and a certificate in gender and sexuality studies. They can be reached at kmgregory16@gmail.com. Copyright © 2023 Kyra Gregory","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735778","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":"Queerly Comprehensible: The Nonbinary Art of Kris Grey","authors":"Chris Straayer","doi":"10.1353/wsq.2023.a910077","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910077","url":null,"abstract":"Abstract: This essay argues that nonbinary artist Kris Grey deploys a genderqueer aesthetic to undo taxonomy. Their ceramic sculpture and performance art cross and diffuse binaries through reversals, implosions, conversations, and invitations. I contextualize Grey’s art within the work of other contemporary artists who have creatively investigated and engineered gender, sex, and sexuality. Following Vittorio Gallese, I argue that Grey’s embodied images haptically share nonbinary physicality with audiences. Through centrifugal and centripetal reconfigurations, they make new experiences visible, imaginable, and available. Following Caroline Walker Bynum, I argue that by queerly foregrounding the nonbinary underpinning of a master aesthetic discourse, Grey shows the seemingly unfamiliar nonbinary body to be affectively comprehensible.","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735937","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":"Wondrous Bodies: Trans Epistemology and Nonbinary Saints","authors":"C. Libby","doi":"10.1353/wsq.2023.a910074","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910074","url":null,"abstract":"Abstract: This article places Marcella Althaus-Reid’s theological reflection on popular devotion to the figure of Santa Librada in Argentina in conversation with scholarship on androgyny, nonbinary identity, and medieval gender-crossing saints. Tying together strands of medieval writing on wondrous bodies and contemporary articulations of nonbinary identity foregrounds how nonbinary embodiments destabilize modern conceptions of binary gender. Although I am not suggesting a return to premodern conceptions of the body, medieval texts are instructive insofar as they offer an epistemology of embodiment that evades the consolidation of binary categories of sex and gender.","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735560","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":"Hybridity","authors":"Ximena Keogh Serrano","doi":"10.1353/wsq.2023.a910097","DOIUrl":"https://doi.org/10.1353/wsq.2023.a910097","url":null,"abstract":"Hybridity Ximena Keogh Serrano (bio) In the 19th century,the term Hybrid becomes the noun used to connote a person of mixed race;rooted in the botanical and zoological conception of cross-breeding,Hybrid does what it saysshifts habitat Like European colonizers, settling over the Americascenturies before,the linguistic sign daggers into dictionaries—keen to address the biological and cultural spheres of human contact Contact such a beautiful word that sense of with-ness so lovelyand yet, how its underside shrivelsperverse Like when Contactcame to denote what emergedfrom the arrival of shitface to today’s so-called America [& here, as always, I mean the continent]Where other names include:Discovery Invasion Creation Encounter Disaster DICED is what we are : : [End Page 302] In hybriditythere is always a winning racethrough embodiment, the winner surfaces via codesascribed to levels of pigmentation In a family, the possibilities of color are infinitesimalHues, like reproductive history, mount across the genealogical pool& so, symbolic wins and losses shape our so-called human form Even as you strive to renounce itto shame its contemptable constructHybridity clings to our skins, to our mouths, to our speech actsJust as the fabricated scale of the Great Chain of Being told us white wasabove all,we believed it& so our complicity with harm Mine, came in tiny explosionsbarbarous acts Before I could even name it—as in that wish for wholeness, that wanting to be that which I was notI, impure mix For impurity is an element of hybridityThe want drilled a hunter in me In the fold of an in-between carnal coatI could be a questionwhile keeping my mouth closed In the observation field, I would learn just howto renounce my Andean lines, cut them coldso as to ennoble the European switchblade in me We all become half-experts in the duties of the colonial enterpriseWe are so very well trained [End Page 303] I for one have killed so many parts of me,I can’t even remember where I left her herher [End Page 304] Ximena Keogh Serrano Ximena Keogh Serrano is a poet and scholar of Latin American and U.S. Latinx literary and cultural studies. Her research and writing move across genres of literary criticism, visual culture, and studies in gender and sexuality. She is an assistant professor at Pacific University, and lives in Portland, Oregon. She can be reached at xkserrano@pacificu.edu. Copyright © 2023 Ximena Keogh Serrano","PeriodicalId":37092,"journal":{"name":"WSQ","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735563","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}