Arthur Miller Journal最新文献_第3页

Blonde (2022) 金发美女(2022)

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.1.0110

Stefani Koorey

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The Last Yankee 最后的美国佬

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0196

Rupendra Guha-Majumdar

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A Memory of Two Mondays 《两个星期一的记忆

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0175

Richard Brucher

{"title":"A Memory of Two Mondays","authors":"Richard Brucher","doi":"10.5325/arthmillj.18.2.0175","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0175","url":null,"abstract":"Professor Stephen Marino brings his customary authority to his introduction to the updated Methuen Drama Student Edition of Arthur Miller’s A Memory of Two Mondays. This edition is especially welcome because Penguin USA does not publish a single text of Two Mondays, and the centennial Arthur Miller: Collected Plays (2015) inexplicitly omits the play. Under the general editorship of Professor Susan Abbotson, the new Methuen editions contextualize the plays historically and culturally, argue their current relevance, and analyze the plays’ genres and themes. The new editions discuss the plays’ staging histories and scholarly debates, but they increase emphasis on the plays in performance. A section on “Behind the Scenes,” featuring remarks by theater practitioners, is very helpful.Marino remarks ruefully that Two Mondays is a relatively unknown and unproduced play, which in turn has limited commentary on it. Its cultural and social contexts are nonetheless complex and interesting. The early 1950s were turbulent times for Miller. Recent plays, written as responses to political paranoia, had not done well. The federal government was suppressing dissent and encouraging citizens to betray one another. Elia Kazan, Miller’s close friend and collaborator, named names and disavowed his radical past, and Miller’s marriage to Mary Slattery ended amid news of his affair with Marilyn Monroe. Miller welcomed director Martin Ritt’s request for a pair of one-act plays, to be presented Sunday evenings by talented actors, with no concern for commercial value. In a few weeks, Miller developed A Memory of Two Mondays and A View From the Bridge from manuscripts he had at hand: a piece of memoir about his time after high school working in an auto parts warehouse and a draft of his “Italian Tragedy.” As luck would have it, the Sunday evening theater became unavailable, and the pair of one-acts went to Broadway, where they were not well liked. Compounding the irony, the revised, two-act version of View emerged as one of Miller’s great plays. The one-act memory play about a boy’s stint in a warehouse in the early 1930s became a minor play by a major playwright.The Chadick-Delamater warehouse was Miller’s entry into the big world beyond home and school (Miller, Timebends 213). Marino argues how Two Mondays depicts a crucial time in Miller’s young life and a decisive time for most adolescents. The warehouse job taught Miller prejudice and estrangement; he was a Jew in an Irish workplace and a transient because he could get out. The experience helped him realize how harassed and conflicted individuals could come together in moments of crisis to help one another. The times were desperate, but camaraderie somehow made people hopeful, a feeling missing in the 1950s. Miller, as a forty-year-old playwright writing personally about the 1930s, hoped an audience in 1955 would note the irony. Marino coaxes today’s students to see the connection. Harsh economic and social conditions of","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446468","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}

引用次数: 0

The Good John Proctor 好约翰·普罗克多

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0204

David Palmer

{"title":"The Good John Proctor","authors":"David Palmer","doi":"10.5325/arthmillj.18.2.0204","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0204","url":null,"abstract":"Caitlin Sullivan’s production reminded me of Ivo van Hove’s 2016 staging of The Crucible, which seemed to make everyone—not just the condemned, but their Puritan judges and youthful accusers—victims of social forces that overwhelmed them. (See the “Symposium” discussing this production in Arthur Miller Journal 11.2 [Autumn 2016]: 200–213.) Van Hove was not showing us good guys versus bad guys in a metaphorical McCarthyism of the 1950s. Everyone in his production was destroyed in the complex matrix of collapsing but still dominant social mores and power structures that surrounded them. The culture was the abuser here rather than any individuals. That production was a portrait of Hannah Arendt’s banality of evil, a socially induced “curious inability to think.” It was a production for the political ethos of our own times.Talene Monahon mounts this same kind of social critique in a play where Proctor himself never appears but is mentioned and ultimately becomes the emblem of the hypocrisy and abusiveness of the Puritan culture—and indeed of our culture today. With the exception of the last scene, which portrays an event years later, the play ends before the trials begin. Monahon focuses on the year leading up to the trials by exploring the experience of four girls, whom Monahon gives varying ages, which makes a difference in how the trials affect the outcomes of their lives.Betty Parris is a child of ten. She shares her bedroom with her cousin, Abigail Williams, who at age twelve still is willing to play childhood games but clearly eager to move on. Mercy Lewis is a more worldly fifteen or sixteen; her foul-mouthed cynicism at first provides a comic background for events before it turns toward the tragic in the play’s last scene. Mary Warren has lost her home in Wells, Maine, and comes to Salem looking for work. At eighteen, she seems ancient and odd to young Betty, who wonders why Mary is not married. All the girls speak in the vernacular of American teenagers today, which highlights the way the play is a commentary on our current culture. With the exception of Betty, who still enjoys the security of her parents’ home, these girls must make their own ways through the world. Their awareness of their fragile positions and their dependence on others determines their actions, no matter how much bravado or self-affirming fantasy they try to bring to their lives. The play’s theme focuses on how the Puritan culture limits them and encourages their victimization, most pointedly in Proctor’s sexual abuse of Abby. Monahan challenges traditional hagiographic views of The Crucible’s hero, raising the same questions that Susan C. W. Abbotson did in “A Reassessment of the ‘Goodness’ of John Proctor: Fair or Foul?” (Arthur Miller Journal 7.1–2 [Fall 2012]: 15–21). Returning Abigail closer to her original historical age colors this treatment the worse.Abby finds a freedom on the Proctor farm that her repressive society has allowed her nowhere else. Working joyfull","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446711","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}

引用次数: 0

The American Clock 美国时钟

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0187

Richard Brucher

{"title":"The American Clock","authors":"Richard Brucher","doi":"10.5325/arthmillj.18.2.0187","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0187","url":null,"abstract":"Professor Jane Dominik covers very well the sweep, scope, and hybrid form of Arthur Miller’s The American Clock in her introduction to the updated Methuen Drama Student Edition of the play. Introductions to the new series, under the general editorship of Professor Susan Abbotson, contextualize the plays historically and culturally, discuss their genres and themes, and review their stage histories and critical and scholarly receptions. Aptly, the introductions pay attention to the plays in performance and include a “Behind the Scenes” section featuring interviews with theater practitioners. Consequently, these introductions are particularly useful to students in both theater and literature courses and to teachers and scholars who stress that we should read plays with performance in mind.As Dominik notes, The American Clock is one of Miller’s most experimental plays, and perhaps his most ambitious. Drawing upon the Miller family’s experience in the late 1920s and 1930s (fictionalized as the Baums), his own recollections of the Great Depression’s effects on people, and oral histories recounted in Studs Terkel’s Hard Times, Miller dramatizes one of the two most traumatic events in U.S. history (the Civil War being the other one). Clock is epic in the popular sense of being big and episodic, and epic in the Brechtian sense of estranging audiences, keeping us aware of its theatricalization of events so that we can be critical of what we are witnessing and not overwhelmed by pity or sentimentality. Dominik covers the play’s historical and cultural context in two dense pages, an impressive achievement: the booming 1920s, the stock market crash, the ensuing crush of a failed economy and catastrophic weather, the rise of Nazism in Europe, and the creation of a welfare system in the United States. Dominik manages this with a fitting mix of historical generalizations and specific examples. She does not say much about the play’s relevance to today’s students, but that is easy to infer. Miller wrote Clock in the booming 1970s and staged it in the 1980s, as if anticipating the market crash of 1987. The New Deal is still under attack in the third decade of the twenty-first century, and post-COVID social, economic, and political upheaval, while not so universal as in the 1933, is worrisome in 2023.Dominik argues that Miller had always experimented with dramatic form, trying to capture on stage the fluidity of consciousness as well as the dynamic interplay of history and politics. Clock integrates the social and familial with the personal and political; and so economic and sociopolitical themes alternate with individual responsibility and family, even when choices are limited or nonexistent (xii). The aim, Miller wrote in his introduction to the play, was “to give some sense of life as we lived it” in the 1930s, and to balance epic elements with “the intimate psychological lives of individuals and families like the Baums” (Collected Essays 301–3). As Dominik witti","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446222","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}

引用次数: 0

“Long as There’s Capitalism, Baby”: The Relevancy of The American Clock “只要资本主义存在，宝贝”:美国时钟的相关性

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.1.0001

E. A. Lee

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The Ride Down Mt. Morgan 沿着摩根山骑行

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0191

Rupendra Guha-Majumdar

{"title":"The Ride Down Mt. Morgan","authors":"Rupendra Guha-Majumdar","doi":"10.5325/arthmillj.18.2.0191","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0191","url":null,"abstract":"It is appropriate that Thiago Russo, a psychoanalyst as well as a doctor in American literature from Sao Paulo University, Brazil, is the one appointed to introduce Arthur Miller’s late play, The Ride Down Mt. Morgan (1993) for the Methuen Drama series starting in 2022 because the play engages keenly with the domain of the psychological as well as that of the sociopolitical in its examination of forces in operation during Ronald Reagan’s entire tenure as U.S. president in the 1980s. Miller’s critique of the problematic neoliberalism of the Reagan-Bush era polarizes his trauma of encountering the deliberate witch hunt of alleged communist sympathizers during the McCarthy regime of the 1950s.In this regard The Ride, centered around its middle-aged, maverick antihero Lyman Felt, echoes facets of Miller’s canonical play Death of a Salesman (1949), initially titled The Inside of His Head and suggestive of the neuroses and self-destructive plight of those invoking the American Dream on the contemporary stage. Russo’s succinct introduction to this new edition of Ride may be contextualized in his earlier essay, “Reaganism in The Ride Down Mt. Morgan,” published in the critical anthology Arthur Miller for the Twenty-First Century (2020), which provides numerous recent viewpoints of Miller as a globally acknowledged playwright, noting that Miller’sAs the quintessential modern American playwright, Miller has always had a prescient way with words: at times they bear a contemporary, allegorical significance of nomenclature in his characters—Newman, Loman, Hyman, Lyman; and at other times they are couched in tragicomic irony in a play title like The Ride Down Mt. Morgan, where the word “ride,” normally associated with fun and games or acts of impromptu transportation, euphemistically represents a serious bone-crunching car accident on an ice-bound mountain road—an accident that critically unravels the duplicity of a zealous, self-righteous hero.“Duplicity” is a concept that could be a synonym for “mask,” and the practice of using masks—or multiple, expedient personae—for self-preservation through anonymity or self-aggrandizement on the stage has been prevalent for millennia in Western drama. In Miller’s plays, Joe Keller, Willy Loman, John Proctor, Quentin, Lyman Felt all wear a variety of masks while justifying their motivation of good living or pleasure or “success,” a word that Felt spells wittily as “suckcess”—a risqué, symbolic rendering of the American Dream as a giant female tit that is unending in its lactating resource of happiness.The market forces that pressurized Joe Keller and Willy Loman to nurture the equivocal choices they did in the contexts of the Depression and World War II take on a different color and value system beyond erstwhile urban conflicts to a much more solipsistic and consumerist stage in the Reagan era. Felt may have gone beyond the anxieties of Loman in negotiating his fate above the survival line in society, but attributes of d","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446466","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}

引用次数: 0

The Price 价格

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0182

David Palmer

{"title":"The Price","authors":"David Palmer","doi":"10.5325/arthmillj.18.2.0182","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0182","url":null,"abstract":"In the past decade, The Price has emerged as one of Arthur Miller’s most produced plays, not only in major venues but in small, regional theaters. Part of this is because Miller’s name on a marquee or flyer always draws an audience, and the play is easy to stage: it has only four characters and a single set. But it also is an exceptionally fine play. The complexity of its ideas offers directors and actors a wide range in interpreting characters and their relationships, despite Miller’s stage directions, which tend to be more limiting and precise in expressing his own vision of what is taking place. The play is Miller’s most thorough exploration of a theme that had been central to his work since his first drama, No Villain, which he wrote more than thirty years earlier during the spring break of his sophomore year at the University of Michigan in 1936, when he was only twenty: the tension between our obligations to others and the demand that we take responsibility for maintaining our own lives. As Yuko Kurahashi points out in her introduction, Miller emphasized that tension in his “Production Note” to theater companies about The Price in performance: “A fine balance of sympathy should be maintained in the playing of the roles of Victor and Walter. . . . The production must therefore withhold judgment in presenting both men in all their humanity and from their own viewpoints” (xv, 3). The Price also is Miller’s most personal play, depicting most explicitly his complicated feelings toward his parents and his brother. There are many reasons to study and stage The Price as a key to understanding Miller and his ideas.Throughout his career, Miller saw himself working in the tradition of Henrik Ibsen as a social critic: drama was not merely an entertaining diversion; it could be justified only by the insight it provided that encouraged social change. The moral issues Miller brings into focus in his works never are easy. His plays are not simplistic melodramas of “good guys” confronting amoral or evil “bad guys.” He is diligent in giving every position a subtle and enticing moral voice. All the characters, as different as their responses may be, are caught in the complexity of the moment and try to deal with it in ways they can justify, ways that will enable them to maintain their sense of integrity and self-respect, what Miller in “Tragedy and the Common Man” calls “dignity,” “our chosen image of what and who we are in this world” (New York Times 27 February 1949, X1). Even Judge Danforth in The Crucible is given a scene in which he justifies his actions, and the audience is invited to consider the legitimacy of his views.Many commentators have identified personal accountability as a central theme throughout Miller’s works, and certainly Miller holds people responsible for what they do: he demands that we pay attention to the consequences of our actions, attitudes, and beliefs. But it also is important to note that Miller explores responsibility by simul","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446473","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}

引用次数: 0

Broken Glass 破碎的玻璃

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0200

Stefani Koorey

{"title":"Broken Glass","authors":"Stefani Koorey","doi":"10.5325/arthmillj.18.2.0200","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0200","url":null,"abstract":"Each edition of the Methuen Drama Student Edition of Arthur Miller’s works is organized in a similar fashion. It is a clear and concise way of arranging the critical commentary, especially because each volume is examined by a different scholar. In this volume on Broken Glass, we have a duo of Indian women: Ambika Singh, an independent scholar who writes about American theater, feminism, and race studies, and Nupur Tandon, a professor in the department of humanities and social science at the Malaviya National Institute of Technology. Her specialty includes gender and identity in global and postcolonial literature.Broken Glass takes place in New York in 1938, shortly after Kristallnacht, the Night of the Broken Glass, when, for the first time, Jewish people “were physically attacked with the explicit endorsement of the Nazi government as their homes and shops were brutally vandalized and destroyed” (Espejo-Romero, ed., Arthur Miller After the Fall, x). For this reason, the historical, social, and cultural contexts section of the introduction centers around Miller’s Jewish upbringing, his identity as a Jewish writer, his travels to Europe after the war, his visit to the Mauthausen concentration camp in 1962 with wife Inge Morath, and his own experiences with anti-Semitism in America. It is fitting that the reader understand where Miller’s dramaturgy originates, but little space is given for his adult-era embrace of atheism and his own disavowal of religion in general that certainly had a profound effect on this 1994 play. It is as if the editors here decided that since Miller was born Jewish, he naturally wrote plays with Jewish themes and characters, when the reality of the construction of Miller’s thematic scope is far more complex than this would lead the reader to understand.In their examination of the play’s genre and themes, the editors mistakenly call Phillip Gellburg “the play’s tragic hero” (xii). It seems, so soon after quoting from Miller’s 1949 essay “Tragedy and the Common Man,” that they are putting forth a literal reading of Broken Glass as one in which the man is the protagonist. Many critics have discussed that in Broken Glass Miller has constructed his first full-length play with a female protagonist: Sylvia Gellburg. Hers is the character who goes through the necessary change to be identified as the protagonist. In fact, her husband Philip may be the antagonist of the play, as he precipitates her change with his refusal to embrace his ethnicity and constant fear of being fired for being Jewish. Sylvia’s hysterical paralysis, her internal dilemma, does not reveal itself through any active struggle with a changing social order, as is evident in plays by Miller with a male protagonist, but instead her conflict manifests as a co-opted physical ailment. By foregrounding paralysis as an overt metaphor for inaction, or rather inability to act, Miller makes Sylvia conspicuously displaced from herself, half-dead, stymied, and alone. Miller","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446709","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}

引用次数: 0

The Price 价格

Arthur Miller Journal Pub Date : 2023-01-01 DOI: 10.5325/arthmillj.18.2.0212

Ciarán Leinster

{"title":"The Price","authors":"Ciarán Leinster","doi":"10.5325/arthmillj.18.2.0212","DOIUrl":"https://doi.org/10.5325/arthmillj.18.2.0212","url":null,"abstract":"Any production of The Price, suitably enough for a play with such a title, will hinge on balance—between the Franz brothers, Victor and Walter; between two ways of viewing the world; and between our attitudes toward Esther and Solomon. If we are being prodded toward one side or the other, the ambivalent nature of the work is lost, and we are into the realms of a thesis play. While Arthur Miller was considered out of step with social and cultural currents by the late 1960s when the play was first produced, he was not working in the same mode as he had in the 1940s and 1950s. Admittedly, he largely refused to integrate contemporary theatrical or cultural influences into the play, but his attitude to his work was sharply different from that of his early plays. All My Sons (1947), Death of a Salesman (1949), and The Crucible (1953) had definitive points that were driven home with the zeal of a true believer, intent on expressing his opposition to prevailing cultural forces and ideas. The Price is an altogether different animal, and it takes a deft hand to ensure that it retains its power to pull the audiences from one perspective to another. This production of The Price at Dublin’s Gate Theatre, coming less than a decade after its last outing there in 2014, achieves this with poise and comfort, as the temptation to side exclusively with Victor, who could be one of the theater’s great pitiful losers, is avoided. Director Conleth Hill largely maintains a light touch, which accords with what he told Sara Keating of the Irish Times are his rules for directing: “Never be dictatorial. You should be nudging, rather than demanding. Everybody works in different ways, different paces, different methods. Keep a loose rein so you can discover things as you go. Stay open, and keep the work day short” (Keating). The approach has certainly reaped rewards here, but the lack of innovation or revelation means that it is occasionally an excessively comfortable experience—admirable in its construction, the production does not add a great deal to those already familiar with the work.The set is inevitably one of the most anticipated elements of any production of The Price, and Stuart Marshall’s work here is deeply effective. Furniture is piled along the back wall, with several oversized armchairs toward the front. In the program, and repeated on the Gate Theatre website, Marshall said the work of Edward Hopper was one of his main influences and wrote that his “enigmatic interiors from an earlier era often show isolated characters mid-scene as if glimpsed through a window or seen on a stage” (Marshall). Intriguingly, a tower of the Franz’s junk is placed slightly upstage of center, allowing actors to walk behind it and obscure themselves from the audience. This is of course a perfect metaphor for the family situation in the play, as neither of the brothers can bear to be fully revealed; the impulse to obscure their own feelings and desires was taught to them by their unhap","PeriodicalId":40151,"journal":{"name":"Arthur Miller Journal","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446720","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}

引用次数: 0