ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK最新文献

{"title":"All the Monoliths Are Fluid Now","authors":"D. Becker","doi":"10.33675/angl/2021/3/17","DOIUrl":"https://doi.org/10.33675/angl/2021/3/17","url":null,"abstract":"Metaphors are omnipresent. Far from just being stylistic devices in literary texts, they are an integral part of human communication and cognition and play a most important role in how individuals and collectives constitute a meaningful relationship to the world (cf. Gibbons and Whiteley 2018, 205). As such, metaphors can be found in all kinds of communicative contexts, ranging from more colloquial everyday conversations to \"the most serious of academic texts\" (Littlemore and Low 2006, 5). An example of the latter can be found in the field of English language education, where, in recent years, a growing number of studies have argued for the necessity of transcultural learning in the EFL classroom. In doing so, these academic texts make use of a recurring metaphor: they conceptualise transcultural learning and transculturality – a concept used in English language education1 to describe the dynamic and hybrid conditions of contemporary cultures – via the metaphor of liquidity. Thus, in the spirit of Bauman (2007) and his 'liquid times,' Guest sees contemporary cultures as inherently \"fluid\" (2006, 14), Freitag-Hild remarks that current cultural spheres are \"always in a flux\" (2018, 168), and Schachtner speaks of \"cultural flows\" (2014, 228) constantly intersecting. In contrast to the more traditional image of cultures as \"monolithic and static construct[s]\" (cf. Blell and Doff 2014, 79), Hannerz refers to a \"pool of culture\" (1998, 49) in which, according to Grünewald, Küster and Lüning, \"floating identities\" exist (2011, 69), and Volkmann speaks of the \"Auflösung\" (dissolution; 2014, 38) of fixed cultural boundaries. Much like liquids being brought together, therefore, in English language education, contemporary cultures are seen as \"mixing and fusing\" (Viebrock 2019, 79), thus clearly showing that, indeed, metaphors find their way into the most serious of academic debates. The present paper will take a closer look at this 'liquid-metaphor' in the context of teacher education. More specifically, this paper provides a theoretical exploration of the learning potential that this metaphor might offer to student teachers2 of English: it will be argued that by analysing this dominant metaphor in current studies on transcultural learning, student teachers can gain a profound understanding of","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87559050","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":"Transformations","authors":"R. Rohleder","doi":"10.33675/angl/2021/1/12","DOIUrl":"https://doi.org/10.33675/angl/2021/1/12","url":null,"abstract":"In the frame narrative of Mary Shelley's story \"The Invisible Girl\" (1832) a remarkable thing happens. The narrator describes a picture – one which the story's readers can immediately compare with its own description, since this picture is (almost) identical with the engraving which accompanies the story and which was, at its first publication in an annual, The Keepsake, placed on the opposite page. What is remarkable in the narrator's account of the picture is his sudden self-consciousness:","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86318289","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":"Requests across Varieties and Cultures","authors":"S. Kranich, H. Bruns, E. Hampel","doi":"10.33675/ANGL/2021/1/9","DOIUrl":"https://doi.org/10.33675/ANGL/2021/1/9","url":null,"abstract":"Requests have been successfully studied with the help of discourse completion tasks (DCTs) across a range of languages and communities. Starting with the CCSARP (Cross-cultural speech act realization project; cf. Blum-Kulka et al. 1989a), the study of request choices has brought to light contrasts between different languages (e.g. English, German, Hebrew, French, Russian, and many more; cf. e.g. Blum-Kulka et al. 1989a; Ogiermann 2009; Trosborg 1995) as well as cross-cultural contrasts between varieties of the same language (especially different varieties of English, cf. e.g. Barron 2008a/b; Flöck 2016). The form requests may take depends on what is considered polite in a society or community of speakers, which in turn depends on the prevailing power structures. Therefore, they are also particularly influenced by changes in a society, such as democratization. For the current study, we want to investigate the influence of processes of democratization on request formulation in different cultures. For this we looked at three different varieties of English (British, American, and Indian) as well as German (as spoken in Germany). Participants were of an older and a younger age group, to allow for an apparent time study design. Apparent time studies make use of synchronic data to study linguistic change, based on the assumption that the older speakers' usage will contain more instances of older, established variants, while younger speakers' usage will contain more instances of newer, incoming variants, thus allowing for the perception of recent change (cf. Tagliamonte 2011, 43). While wellestablished in sociolinguistics, the apparent-time approach has, to our knowledge, not been combined with contrastive and variational pragmatics before. The results from the DCTs will thus allow us to see not only differences in request behavior across languages and cultures, but also indicators of recent change. Furthermore, interviews were conducted with speakers of British English and German from two different age groups. These interviews are based on questions about the perception of social change and language change over the past few generations and might give a deeper understanding of the results gained from the DCTs. First, we will give an introduction to democratization and how it may affect language use, discuss our general approach, and then go into detail on previous findings of contrastive and variational pragmatic studies (section 2). Then, the method for this study will be discussed in more detail, namely how the DCTs are used and how the interviews were conducted (section 3). Section 4 will give insights into the results from the request elicitation as well as the results from the interviews. Section 5 will discuss these findings. Finally, in section 6, we will come to a conclusion and mention open questions awaiting further research, as well as describe our plan of future work in this area.","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"41 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73892254","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":"\"We are all in this together\" – Balancing Virtual Proximity and Distance in Online Care Partner Discussions","authors":"B. Bös, C. Schneider","doi":"10.33675/angl/2021/2/8","DOIUrl":"https://doi.org/10.33675/angl/2021/2/8","url":null,"abstract":"Text-based online communication has often been attested a 'speech-like' character (Danet 2010, 146) which manifests in communicative constellations and linguistic features typically associated with private, spontaneous face-to-face conversations and the semiotic compensation of kinesic and paralinguistic cues (cf. Androutsopoulos 2011, 149). Crystal's famous term 'Netspeak' (2001; 2006) foregrounds this idea of 'conceptual orality' (cf. Koch and Oesterreicher 1985; 1985/2012). While the notion of Netspeak was criticized for implying the existence of a distinct, homogeneous language variety (e.g. Dürscheid 2004), research of the early 2000s already indicated that 'speech-like' and 'writing-like uses' of language in digital communication have to be conceived of as scalar phenomena (Danet 2001, 16; see also Crystal 2001, 42f.) and are clearly not just technologically determined (cf. Androutsopoulos 2011, 146). Meanwhile, studies on a range of social media contexts have further contributed to a more differentiated picture (e.g. Hoffmann 2012; Sindoni 2013; and the contributions in Bublitz and Hoffmann 2017). Viewing digital environments as social spaces which give rise to particular communicative practices, we aim to show that next to modeor genre-specific variation, we need to consider potentially different user orientations as interactive phenomena in their local discourse contexts (see also Androutsopoulos 2007, 80, 91). For that purpose, we have investigated data from the discussion forum of a Facebook support group for care partners1 of people living with dementia of the Alzheimer type (PWD). This study asserts that even on one particular social media platform, within one sociotechnical mode and one particular virtual community of practice (CofP), users' linguistic choices vary in the act of balancing virtual proximity and distance. This paper starts out from a definition of the core concepts (section 2), followed by a description of the methods and data of the study (section 3). The realizations of the three dimensions of virtual proximity and distance in the corpus will be presented in more detail in section 4, before we focus on the linguistic dimension in section 5. Section 6 will explore the interplay of linguistic patterns of immediacy/distance with the other two dimensions in the complex communicative practices of balancing virtual proximity and distance, and section 7 will round off our discussion.","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77891137","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":"Speech Genres and the Novel-Essay","authors":"B. Puschmann-Nalenz","doi":"10.33675/angl/2021/3/16","DOIUrl":"https://doi.org/10.33675/angl/2021/3/16","url":null,"abstract":"","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75542054","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":"Literature and Interdisciplinary (Health) Risk Research","authors":"J. Hoydis","doi":"10.33675/angl/2021/3/9","DOIUrl":"https://doi.org/10.33675/angl/2021/3/9","url":null,"abstract":"Welcoming the opportunity offered by the editors of this special issue to think critically about interdisciplinarity, this article draws on my experiences as a literary and cultural studies scholar working on the subject of narrative and risk perception and risk management. In risk research, interdisciplinarity is generally necessary and the concept of risk has gained similar currency in different fields over the last three decades. Martinsen and Niederberger write in their editorial to the issue \"Risikoforschung. Interdisziplinäre Perspektiven und neue Paradigmen [Risk Research. Interdisciplinary Perspectives and New Paradigms],\" published by the University of Duisburg Essen in 2018, that \"risk has become a central category of societal self-observation, and it reveals processes of transformation across scientific disciplines in modern society shaped by a growing sense of contingency\" (2018, 9; my transl.). The salient current examples of this are climate change, a phenomenon closely tied to collective and individual risk (see Smith 2014, 16; Hoydis 2020a, 96; Hoydis 2020b), and the Covid-19 pandemic, which took hold of the world in 2020 and which, like climate change, shows no signs of being under human control. While this kind of existential, global risk is not the main focus here, it underlines that the interdisciplinary study of risk – i.e. research into how it can be measured, how humans react to it, how it should be communicated in order to stipulate the 'right' behaviour, how it shapes strategies of government and human and nonhuman lives, how it is at the heart of the stories we tell – has expanded, or, more accurately, exploded recently. One might even debate whether \"risk studies\" has become a discipline in its own right. However, it does not meet the requirements of a discipline as identified by, for example, Eloise Buker, for these include: a common vocabulary and set of concepts, a shared narrative of identity and community, a shared set of questions that guide inquiry, a set of methods or strategies of interpretation which construct what counts as evidence (Buker 2003, 74-75). Disagreement about the latter, above all, makes risk research not a discipline but a field of interdisciplinary inquiry clustering around a boundary object. Drawing on Susan Leigh Star's (1989) definition of the term, I argue that both 'risk' and 'narrative' present boundary objects in the sense that they are employed differently in different disciplines. They are \"plastic enough to be adaptable across multiple viewpoints,\" thus allowing for interpretive flexibility, yet maintaining a \"continuity of identity\" (Star 1989, 37). This facilitates debates and offers grounds for interdisciplinary cooperation in the first place, but also for misunderstandings over deceptive parallels and convergences, which might turn out to be vast, and in some cases irreconcilable, differences. For example, much as the literary and cultural studies","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"72 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85062627","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":"Tertiary Orality?","authors":"D. Biber, W. Chafe, D. Tannen, T. Heyd","doi":"10.33675/angl/2021/2/10","DOIUrl":"https://doi.org/10.33675/angl/2021/2/10","url":null,"abstract":"Positioning digital linguistic practice at the intersection of orality and scripturality has been somewhat of a consensus in much of the research into digital linguistic practice for almost three decades now. By contrast, there is an additional aspect to the study of digital communication which appears, by comparison, to have flown under the radar. Specifically, there is evidence that mobile linguistic practice is becoming increasingly spoken in a medium-based sense. Today, orality permeates digital genres – from video platforms such as YouTube, to gaming environments such as Twitch, to video calling applications such as Zoom. And in recent years, such oral practices have moved beyond traditional communication settings and into the posthumanist (Pennycook 2018) realm of human-machine-interaction. Through technologies such as speech-to-text and textto-speech recognition, and through the rise of digital assistants and artefacts, we are increasingly talking not just through, but with machines. This paper will give an overview of some of the linguistic implications of these new oralities. I will reexamine Walter Ong's notion of secondary orality as a form of technologized orality \"which depends on writing and print for its existence\" (1982, 3). Based on this theoretical concept, I will discuss whether current forms of spoken digital practice, in particular where they involve a posthuman element, can be understood as an emerging form of orality. Such a \"tertiary orality,\" which goes beyond technically mediated forms of speaking, may dissolve assumed distinctions between speaking and writing, between humanand machine-made discourse. I close with a brief look into casework on a specific community of practice on YouTube, namely the Reborn community, to illustrate how tertiary orality may operate in intensely mediated environments.","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73185062","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":"Digital Food Talk","authors":"S. Rüdiger","doi":"10.33675/angl/2021/2/9","DOIUrl":"https://doi.org/10.33675/angl/2021/2/9","url":null,"abstract":"Watching someone else eat online – a phenomenon which originated in South Korea around the year 2008 (Donnar 2017, 122) – has become a popular video genre around the world. These shows are generally known as Mukbang, with the name reflecting their Korean origin (a blend of the Korean words 먹는, meokneun, 'eating' and 방송, bangsong, 'broadcast'). While the portion size of the consumed foods may vary from show to show and from performer to performer, typical Mukbang feature excessive food consumption and overeating (see section 2.1 for an example). Recently, the extremity of this has led China to censor Mukbang videos on a variety of platforms due to concerns about food waste and food security (Tidy 2020); users in China searching for Mukbang online are now shown a warning notice and some social media companies reacted by blurring the videos to make them less appealing (Tidy 2020). Other criticism concerns the shows' potential involvement in the formation and normalization of eating disorders (see, e.g., Strand and Gustafsson 2020) and internet addiction (Kircaburun et al. 2020). However, Mukbang watching has also been reported to have positive effects on food intake (i.e., encouraging more food intake for groups where this is desirable, or, conversely, preventing binge eating) and to alleviate feelings of loneliness (Strand and Gustafsson 2020, 606). Mukbang are thus a complex phenomenon and their societal impact makes it important to study them in-depth and from various perspectives; nevertheless, linguistic investigations of Mukbang (including subtypes and related genres) remain rare (but cf. Choe 2019; Choe 2020 for Korean-language shows and Rüdiger 2020; Rüdiger 2021 for English-language shows). This paper aims at further filling this gap by approaching this format from the perspective of immediacy and distance. More specifically, despite being produced primarily in the spoken mode, eating shows constitute a fascinating mix of characteristics associated with immediacy and distance (cf. also the notion of 'tertiary orality;' see Heyd, this issue). We will see this in the application of the model of communicative immediacy and distance (Koch and Oesterreicher 1985/2012) and Landert and Jucker's (2011) enriched communicative model to YouTube eating shows later on in this paper. In addition to this modelling (drawing on a corpus of eating shows), the comment replies by eating show performers in the videos' comments sections will also be included in the analysis. First, this paper introduces the eating show genre from the perspective of performative food consumption in general and outlines its development, characteristics, and diversification. Section 3 presents a brief overview of the aforementioned communicative models, which will be applied to the eating shows in the analysis (i.e., Koch and Oesterreicher 1985/2012; Landert and Jucker 2011). Section 4 is then devoted to the methodology and section 5 constitutes the analysis, which is divided into","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82330571","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":"List of Contributors","authors":"","doi":"10.33675/angl/2021/1/14","DOIUrl":"https://doi.org/10.33675/angl/2021/1/14","url":null,"abstract":"","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78228560","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":"From Paper to Pulp","authors":"Tom Mccarthy, Maria Torok","doi":"10.33675/angl/2021/3/14","DOIUrl":"https://doi.org/10.33675/angl/2021/3/14","url":null,"abstract":"Writing a novel, often, isn't much fun. You pen a sentence, write a scene – and even as your fingers strike the keypad, as the words dribble across the screen, you're confronted, in an instant feedback loop, with the irremediable fact of their excruciating awfulness. Dutch literary culture has a colloquial term for first drafts: de eerste pannenkoek – the first pancake. When you're cooking pancakes, the first cupful of batter to be poured into the pan won't end up being eaten; it's just to make initial contact, prime the iron, establish working temperature. Those things achieved, you throw the scrambled mess away. So it is with a first draft. As William S. Burroughs more directly counsels: cut it into very small pieces and hide them in someone else's trashcan. Most of the 'fun' – or, to use a more respectably Lacanian term, pleasure – comes much later, when the novel is read. Or, to be precise: when you, the author, join the ranks of the book's readers. This relation to a work seems more honest, since this is what you, as author, were in the first place: a reader – namely, a conduit or channel through which other histories and bodies flowed and coalesced until they found some kind of form which, still provisional (always provisional) nonetheless seemed fixed enough to be read – or rather, since it was already a form of reading in the first place, re-read. There are no writers – only readers: isn't this what critical thinking from at least Heidegger onwards, never mind Derrida, has ceaselessly been telling us? As a writer who's gone out there, dived into the pan and tested the veracity of these claims, I can testify with absolute conviction that they're one hundred per cent true. But pleasure. I'm not really thinking, here, of reviews, which, when they're good ones, give the kind of pleasure that cocaine might – gratifying but short and utterly unsatisfactory. Nor even academic critical engagement, although that's more interesting, since it transposes currents moving through the work, conveys them elsewhere, cutting channels through to other bodies, thus continuing the work's own work. No, I have found – quite unexpectedly – that what affords me as a writer – sorry, reader, channel or transposer – the most fundamental type of pleasure is translation; in other words, the process of watching my novels being translated. If a literary text is made of metonymic chains, a balanced architecture of allusion, correspondence, semantic displacements playing out at verbal level, taking up and modifying each other, in a kind of echolalia – what Nicolas Abraham and Maria Torok, in their brilliant study of Freud's Wolf Man, call \"cryptonymy\" – then the most propitious, or faithful, mode through which to attend to this text's demand, to carry forth and outwards its own logic, would be translation. As the critic Fritz Senn pointed out back in the '80s: to best understand Joyce, you shouldn't read through Ulysses or Finnegans Wake to some supposed scene of Dublin l","PeriodicalId":42547,"journal":{"name":"ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK","volume":"70 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75322156","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}