FRENCH FORUM最新文献

{"title":"Le Moulin de Pologne: un choléra en chambre","authors":"Laurent Fourcaut","doi":"10.1353/frf.2023.a932968","DOIUrl":"https://doi.org/10.1353/frf.2023.a932968","url":null,"abstract":"<p><p>Résumé:</p><p>Dans <i>Le Moulin de Pologne</i> (1952) de Jean Giono, le « destin des Costes », saisis d'un vertige de mort, traduit l'impasse d'une société où la fusion désirée des individus avec le monde, sous l'effet de la « passion » ou instinct de « perte », n'est plus possible car le monde s'est fermé au désir humain sous la pression de l'Histoire récente. C'est pourquoi, dans la petite ville où se déroule l'histoire, au xixe siècle, règne l'« avarice », non seulement d'argent, mais d'abord du désir. Avares, les notables de la ville qui assouvissent indirectement – par victime interposée – le leur en lui offrant en pâture la perte des Costes lesquels, en désespoir de cause, se donnent au néant. Le personnage de M. Joseph, figure de l'écrivain – comme est aussi le narrateur –, bâtit autour de Julie, son épouse, la plus éperdue des Costes, un vaste domaine où elle peut vivre librement sa passion. Ce domaine est la mise en abyme du contre-monde de formes que l'écrivain, l'avare par excellence, avare sublime, élabore dans l'écriture pour qu'on puisse s'y perdre <i>ad libitum</i>, à défaut de pouvoir le faire pour de bon dans le réel. À la mort de M. Joseph, le destin funeste des Costes reprend de plus belle et va à son terme. Il ne reste alors plus à l'écrivain qu'à passer au livre suivant.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141778589","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":"\"Pis que morte\": les lettres de Marguerite d'Angoulême à Guillaume Briçonnet, laboratoire de l'écriture du Dialogue en forme de vision nocturne (automne 1524)","authors":"Isabelle Garnier","doi":"10.1353/frf.2022.a914318","DOIUrl":"https://doi.org/10.1353/frf.2022.a914318","url":null,"abstract":"<p><p>Abstract:</p><p>Before she became Queen of Navarre in 1527, Marguerite d’Angoulême, Sister of King Francis I, and Guillaume Briçonnet, Bishop of Meaux, wrote more than one hundred and twenty letters to each other between 1521 and 1524. Several scholars have already shown how Marguerite drew inspiration from the letters of Briçonnet. This article reveals how much Marguerite’s own letters to the bishop nourished her first important poem, the famous <i>Dialogue en forme de vision nocturne</i>, written after the death of her niece Charlotte de France in 1524. After a necessary clarification on the date of composition of this funeral text, the article shows that the letters written by Marguerite guide her in the appropriation of Briçonnet’s theological teachings before they are shaped in the poem. Because Marguerite’s letters constitute a spiritual exercise on the path of poetic writing, they enable the reader of the <i>Dialogue</i> to decode the meanings of the paradoxical expression “pis que morte”, which is to be understood quite differently between the very beginning of the poem and its final line: the spiritual significance of the whole <i>Dialogue</i> is thus revalued.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"84 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France by Raisa Adah Rexer (review)","authors":"Heidi Brevik-Zender","doi":"10.1353/frf.2022.a914329","DOIUrl":"https://doi.org/10.1353/frf.2022.a914329","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France&lt;/em&gt; by Raisa Adah Rexer &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Heidi Brevik-Zender &lt;/li&gt; &lt;/ul&gt; Raisa Adah Rexer, &lt;em&gt;The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France&lt;/em&gt;. University of Pennsylvania Press, 2021, 328 pp. &lt;p&gt;Raisa Adah Rexer’s outstanding book is an engaging and well-argued study of nude photography and its effects on French literature and culture during the mid- to late 1800s. Drawing on an array of archival sources and grounded in feminist photography scholarship, Rexer provides a valuable genealogy of the nude photograph in art and popular culture while offering compelling new readings of literary works by authors including Charles Baudelaire, the Gon-court brothers, and Emile Zola. The book is extensively illustrated with period photographs, some of which are extremely explicit in showing women’s bodies in sexually suggestive poses. Acknowledging the potentially shocking and problematic elements of these materials, Rexer examines them with sensitivity and respect.&lt;/p&gt; &lt;p&gt;A brief Preface helpfully defines the author’s use of key terms, including “pornography” and “obscenity,” and outlines the overall study. Each of the book’s two parts begins with a historical chapter. The first covers the artistic and legal status of nude photography during the medium’s emergence in the Second Empire (Chapter 1) and the second (Chapter 5) charts the evolution of these conditions in the Third-Republic age of mass production.&lt;/p&gt; &lt;p&gt;Chapter 1 builds around a discussion of the &lt;em&gt;académie&lt;/em&gt;, a photograph of a (typically female) nude figure that could be legally produced and used by artists in their work. Even in its early decades, however, nude photography began pushing the limits of censorship laws and came increasingly to influence and challenge how the art world and public print culture could represent and view images of unclothed female bodies. In Chapter 2, Rexer delves into the registers of the &lt;em&gt;Archives de la Préfecture de police&lt;/em&gt; to expose period anxieties over assumed connections between nude photography and prostitution. Women &lt;strong&gt;[End Page 217]&lt;/strong&gt; sitting unclothed before the camera as part of a growing unauthorized market for these images were equated with myriad dangerous behaviors associated with sex work. Police arrest records reveal systematic attempts to control this “threat”—as well as the female body—through legal prosecution of models.&lt;/p&gt; &lt;p&gt;Chapter 3, “Baudelaire’s Bodies,” succeeds admirably in the difficult task of crafting a new approach to the poet’s well-studied works. Considering such poems as “Une Charogne” and “Une Martyre” alongside Salon essays and &lt;em&gt;Le peintre de la vie moderne&lt;/em&gt;, Rexer makes","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581041","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":"Wardrobes, Closets, and Windows: The Architecture of the Privé in the Heptaméron","authors":"Emily Butterworth","doi":"10.1353/frf.2022.a914323","DOIUrl":"https://doi.org/10.1353/frf.2022.a914323","url":null,"abstract":"<p><p>Abstract:</p><p>This article explores the ways in which the built environment—wardrobes, closets, and windows—affords opportunities for intimacy in Marguerite de Navarre’s <i>Heptaméron</i>. It is also an exploration of a key sixteenth-century word: <i>privé</i>. Not quite yet the modern “private,” <i>privé</i> designates in the <i>Heptaméron</i> intimacy, familiarity, and apartness, and is the cause of some suspicion among the storytellers when it gives the impression of illegitimacy. The article focuses on the spaces and behaviors that are explicitly qualified as “privés” in order to identify its connotations and implications. The material culture of the <i>privé</i> in the <i>Heptaméron</i> is linked to early sixteenth-century architectural developments in palaces and châteaux, court culture, diplomacy, and secrecy. Displays and performances of <i>privé</i> behavior were a valuable way for monarchs and other powerful elites to express favor. Courtly attitudes are echoed by the storytellers and are evidenced in the stories themselves, many of which take place in great Renaissance houses or châteaux. Awareness of the gendered implications of the <i>privé</i> emerges both from the discussions and the stories in which women have more to lose from public displays of intimacy and familiarity. The article offers an investigation of the material culture of the <i>privé</i> and a discussion of its ideological and gendered freight.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138580969","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":"Pathologies of Love: Medicine and the Woman Question in Early Modern France by Judy Kem (review)","authors":"Jeff Kendrick","doi":"10.1353/frf.2022.a914331","DOIUrl":"https://doi.org/10.1353/frf.2022.a914331","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Pathologies of Love: Medicine and the Woman Question in Early Modern France&lt;/em&gt; by Judy Kem &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Jeff Kendrick &lt;/li&gt; &lt;/ul&gt; Judy Kem, &lt;em&gt;Pathologies of Love: Medicine and the Woman Question in Early Modern France&lt;/em&gt;. University of Nebraska Press, 2019, 287 pp. &lt;p&gt;Drawing on sources by men and women spanning the fifteenth and sixteenth centuries, Judy Kem elegantly delineates the evolution of received medical ideas and their relationship to important literary and sociological debates regarding women. Emerging from a view of women as inherently inferior to men or as incomplete or imperfect males, the so-called “woman question” often merged early modern medicine, women’s sexual difference, literary interpretation, and gendered language. Sometimes, male authors and, often more unequivocally, female authors rose to challenge this notion. Kem thoroughly and keenly evaluates how five authors “challenge long-held beliefs about the anatomy of women, as well as [women’s] role in both society and matters of love” (21).&lt;/p&gt; &lt;p&gt;Following a useful introduction in which Kem provides background information about received medical ideas concerning female anatomy and its influence on women’s supposedly inferior “natural” characteristics, she turns to consider first a female author, Christine de Pizan (1365-1434), and her participation in the &lt;em&gt;Querelle de la Rose&lt;/em&gt;. Chapter 1 details Christine’s attack on Jean de Meun’s continuation of the &lt;em&gt;Roman de la Rose&lt;/em&gt;. While some male writers may have seen the epistolary debate as an exercise in literary criticism to be played out for intellectual stimulation, Christine takes a more serious stance. She seizes the opportunity to promote a pro-woman agenda by undermining not only literary authorities but also widely read and followed medical works. Some contemporaries go on to either praise or emulate Christine. Unfortunately, as the debate morphs into the &lt;em&gt;Querelle des femmes&lt;/em&gt;, Christine’s influence wanes due to the tendency of male authors to ignore or subsume her arguments. Kem contends for a complete literary history of Christine’s contributions to understand more fully the extent of the late medieval writer’s impact on the development of the &lt;em&gt;querelle&lt;/em&gt; in sixteenth-century France.&lt;/p&gt; &lt;p&gt;In Chapter 2, the first of three male authors, Jean Molinet (1435-1507), is introduced. Molinet sought to moralize Jean de Meun’s work in his c. 1500 &lt;em&gt;Romant de la rose moralisé&lt;/em&gt;. Molinet suggests that readers ought to see a “spiritual quest” instead of focusing solely on the physical or carnal side of Jean de Meun’s text. He also extends humoral theory in a way he claims is necessary to correct misreadings of the original romance. By classifying Jews, pagans, Christians and Muslims through gendered language and normative or no","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581036","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":"\"Parler ou mourir?\": Speech and Silence in the Heptaméron","authors":"Nora Martin Peterson","doi":"10.1353/frf.2022.a914324","DOIUrl":"https://doi.org/10.1353/frf.2022.a914324","url":null,"abstract":"<p><p>Abstract:</p><p>“‘Madame, je vous supplie de me conseiller lequel il vault myeulx, ou parler ou mourir’” (75), asks Amadour at a key moment in the <i>Heptaméron’s</i> tenth novella. It is a loaded question, and one that continues a chain of conversations about the relationship between speaking, silence, and death. In the <i>Heptaméron</i>, speech and danger coexist, and modify one another as both restorative and destructive. In this article, I will read four novellas in which speech and/or silence play a central role in the intrigue and outcome of the tale, and in which the stakes of speaking or remaining silent are very high. In each novella, the trope appears with intensity, but the outcome of what I will call the <i>parler/mourir</i> dichotomy is different in each situation, and reflects the complexity of the situations that these novellas represent. Marguerite shows that speech can perpetuate power, can heal and promote justice, or be deadly. In another instance, she demonstrates that <i>silence</i> is the most effective way to gain victory. It is my contention that Marguerite shows an interest in exploring the different manifestations of speech and silence as they pertain to women. As such, the <i>parler/mourir</i> dichotomy can increase our understanding of Marguerite’s project to dialogically expose and discuss the conditions of women in her society and to put women’s experiences front and center.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138580972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"L'homme innocent à honte n'est tenu.\": La Définition de vrai amour par dizains by Marguerite de Navarre, the Problem of Nudity and the \"Libertins spirituels\"","authors":"Daniel Fliege","doi":"10.1353/frf.2022.a914320","DOIUrl":"https://doi.org/10.1353/frf.2022.a914320","url":null,"abstract":"<p><p>Abstract:</p><p>In the <i>Définition de vrai amour par dizains</i>, Marguerite de Navarre explores the nature of love. This cycle of twenty-six poems has received little attention from scholars, as for a long time the poems were only available in a fragmentary edition. It is only since Richard Cooper’s 2007 edition that there is a basic text with which researchers can work. Nevertheless, the poems raise questions, for the writing style is sometimes so hermetic that the texts appear incomprehensible. According to our hypothesis, three factors are responsible for this. Firstly, the structure, which presents a dialogue between a lady and her lover, but which leaves the distribution of roles unclear, so that the reader often does not know which of the two interlocutors is speaking. Secondly, the nature of love itself, which is differentiated in the dialogue between <i>eros</i> and <i>agape</i>, but terminologically is always expressed by the word <i>amour</i>, so that the reader is often left confused. Thirdly, the writing style is particularly condensed and plays with ambiguities. Our thesis is that the poems are intentionally ambiguous in order to confuse the readers and show them the limits of their own intellect. Only “amitié naifve” allows the lover at the end of the dialogue to understand that the divine love of <i>agape</i> is true love; similarly, it is only at the end of the cycle that the reader realizes that religious themes are central to the poems. This paper analyses this technique of confusion as a “poetics of naivety.”</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581192","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":"Miroir ou parangon? La cour et les courtisans dans L'Heptaméron","authors":"Dariusz Krawczyk","doi":"10.1353/frf.2022.a914321","DOIUrl":"https://doi.org/10.1353/frf.2022.a914321","url":null,"abstract":"<p><p>Abstract:</p><p>The world of the court, with its values and practices, underpins the world Marguerite de Navarre’s <i>Heptaméron</i>, without being the main subject of the short stories. The objective of this article is to analyze how the court and its courtiers were described by one of its founders. It is indeed possible to see not only that Marguerite does not share the vision of the court transmitted in anti-aulic writings, which were very popular in the sixteenth century, but that, in fact, she proposes an idealized vision of the court. It is even possible to observe a certain promotion of courtly culture and its values without the collection of <i>nouvelles</i> becoming an apology of the court. Observations concerning the inscription of <i>La Coche</i> in courtly practices precede the thematic analysis of the frame narrative and of some of the short stories.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le Miroir de Jésus Christ crucifié dans le champ des textes dévotionnels","authors":"Isabelle Pantin","doi":"10.1353/frf.2022.a914319","DOIUrl":"https://doi.org/10.1353/frf.2022.a914319","url":null,"abstract":"<p><p>Abstract:</p><p>The <i>Miroir de Jesus Christ crucifié</i>, written by Marguerite de Navarre shortly before her death (1549), is a devotional text, <i>i.e</i>. associated with the practice of prayer and spiritual exercises. It aims at arousing the experience of an inner transformation both in its author and in its reader. In this poem, the body of the Crucified, contemplated part by part, acts as an accusing mirror in which the worshipper sees her/his own “darkness”, and at the same time as an illuminating mirror through which the soul gradually perceives the “clarity” of divine charity until it reaches the threshold of annihilation as a prelude to mystical union. The poem is therefore a meditation on the Passion and belongs to a long and dense tradition of texts, from the Bible to contemporary spiritual literature, which work on the same motifs.</p><p>This study adopts the point of view of the editor of the poem, anxious to identify its sources correctly. It shows how the devotional character of the text and its belonging to a particularly rich and uninterrupted meditative tradition modify the constraints and difficulties of this work. Getting lost in a labyrinth of motifs reflected as far as the eye can see in countless texts is an indispensable step, but the search for models allowing to clarify certain choices of composition of the poem is the means to deepen the reflection on its mode of operation, even if it does not deliver the keys for its understanding.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581618","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":"Facétieuse Nomerfide","authors":"Marie-Claire Thomine","doi":"10.1353/frf.2022.a914326","DOIUrl":"https://doi.org/10.1353/frf.2022.a914326","url":null,"abstract":"<p><p>Abstract:</p><p>This article proposes an in-depth analysis of the character of Nomerfide, one of the <i>devisants</i> in <i>L’Heptaméron</i>, by examining her from the perspective of facetiousness. She is shown at the heart of the narrative device of conversion of tears into laughter, specific to this book, which gives this character a very special place even though she is the youngest and the most playful of the <i>devisants</i>. Nomerfide is analyzed first of all as a storyteller whose stories are distinguished by their brevity and their playful dimension, which must be interpreted in the light of the awareness of the ephemeral character of all things. Endowed with great talents as a storyteller, Nomerfide deploys a vast palette of narrative strategies and comic effects because she wants to fight melancholy and make the good company gathered in Sarrance laugh. On the other hand, Nomerfide does not hesitate to quarrel with the male <i>devisants</i> or to make her voice heard on male violence and on hypocrisy in relationships between men and women. She also openly endorses female desire and pleasure and defends marriages based on love matches. The article shows that Nomerfide, although facetious because she embodies spontaneity, sincerity and naturalness, is also capable of profound words, including religious ones, thus embodying the liberating power of speech.</p></p>","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"80 5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138581042","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}