Performing Democracy
The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same m...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Robson, Mark [verfasserIn] |
|---|
| Format: |
E-Artikel |
|---|
| Erschienen: |
De Gruyter Mouton ; 2018 |
|---|
| Umfang: |
17 |
|---|
| Reproduktion: |
Walter de Gruyter Online Zeitschriften |
|---|---|
| Übergeordnetes Werk: |
Enthalten in: Anglia - 136(2018), 1 vom: 10. März, Seite 154-170 |
| Übergeordnetes Werk: |
volume:136 ; year:2018 ; number:1 ; day:10 ; month:03 ; pages:154-170 ; extent:17 |
| Links: |
|---|
| DOI / URN: |
10.1515/ang-2018-0014 |
|---|
| Katalog-ID: |
NLEJ247915521 |
|---|
| LEADER | 01000caa a22002652 4500 | ||
|---|---|---|---|
| 001 | NLEJ247915521 | ||
| 003 | DE-627 | ||
| 005 | 20220820034811.0 | ||
| 007 | cr uuu---uuuuu | ||
| 008 | 220814s2018 xx |||||o 00| ||und c | ||
| 024 | 7 | |a 10.1515/ang-2018-0014 |2 doi | |
| 028 | 5 | 2 | |a articles2015-2020.pp |
| 035 | |a (DE-627)NLEJ247915521 | ||
| 040 | |a DE-627 |b ger |c DE-627 |e rakwb | ||
| 100 | 1 | |a Robson, Mark |e verfasserin |4 aut | |
| 245 | 1 | 0 | |a Performing Democracy |
| 264 | 1 | |b De Gruyter Mouton |c 2018 | |
| 300 | |a 17 | ||
| 336 | |a Text |b txt |2 rdacontent | ||
| 337 | |a Computermedien |b c |2 rdamedia | ||
| 338 | |a Online-Ressource |b cr |2 rdacarrier | ||
| 520 | |a The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? | ||
| 533 | |f Walter de Gruyter Online Zeitschriften | ||
| 773 | 0 | 8 | |i Enthalten in |t Anglia |g 136(2018), 1 vom: 10. März, Seite 154-170 |w (DE-627)NLEJ248234986 |w (DE-600)2406132-3 |x 1865-8938 |7 nnns |
| 773 | 1 | 8 | |g volume:136 |g year:2018 |g number:1 |g day:10 |g month:03 |g pages:154-170 |g extent:17 |
| 856 | 4 | 0 | |u https://doi.org/10.1515/ang-2018-0014 |z Deutschlandweit zugänglich |
| 912 | |a GBV_USEFLAG_U | ||
| 912 | |a ZDB-1-DGR | ||
| 912 | |a GBV_NL_ARTICLE | ||
| 951 | |a AR | ||
| 952 | |d 136 |j 2018 |e 1 |b 10 |c 03 |h 154-170 |g 17 | ||
| author_variant |
m r mr |
|---|---|
| matchkey_str |
article:18658938:2018----::efrige |
| hierarchy_sort_str |
2018 |
| publishDate |
2018 |
| allfields |
10.1515/ang-2018-0014 doi articles2015-2020.pp (DE-627)NLEJ247915521 DE-627 ger DE-627 rakwb Robson, Mark verfasserin aut Performing Democracy De Gruyter Mouton 2018 17 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? Walter de Gruyter Online Zeitschriften Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 (DE-627)NLEJ248234986 (DE-600)2406132-3 1865-8938 nnns volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 https://doi.org/10.1515/ang-2018-0014 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 136 2018 1 10 03 154-170 17 |
| spelling |
10.1515/ang-2018-0014 doi articles2015-2020.pp (DE-627)NLEJ247915521 DE-627 ger DE-627 rakwb Robson, Mark verfasserin aut Performing Democracy De Gruyter Mouton 2018 17 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? Walter de Gruyter Online Zeitschriften Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 (DE-627)NLEJ248234986 (DE-600)2406132-3 1865-8938 nnns volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 https://doi.org/10.1515/ang-2018-0014 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 136 2018 1 10 03 154-170 17 |
| allfields_unstemmed |
10.1515/ang-2018-0014 doi articles2015-2020.pp (DE-627)NLEJ247915521 DE-627 ger DE-627 rakwb Robson, Mark verfasserin aut Performing Democracy De Gruyter Mouton 2018 17 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? Walter de Gruyter Online Zeitschriften Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 (DE-627)NLEJ248234986 (DE-600)2406132-3 1865-8938 nnns volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 https://doi.org/10.1515/ang-2018-0014 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 136 2018 1 10 03 154-170 17 |
| allfieldsGer |
10.1515/ang-2018-0014 doi articles2015-2020.pp (DE-627)NLEJ247915521 DE-627 ger DE-627 rakwb Robson, Mark verfasserin aut Performing Democracy De Gruyter Mouton 2018 17 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? Walter de Gruyter Online Zeitschriften Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 (DE-627)NLEJ248234986 (DE-600)2406132-3 1865-8938 nnns volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 https://doi.org/10.1515/ang-2018-0014 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 136 2018 1 10 03 154-170 17 |
| allfieldsSound |
10.1515/ang-2018-0014 doi articles2015-2020.pp (DE-627)NLEJ247915521 DE-627 ger DE-627 rakwb Robson, Mark verfasserin aut Performing Democracy De Gruyter Mouton 2018 17 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? Walter de Gruyter Online Zeitschriften Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 (DE-627)NLEJ248234986 (DE-600)2406132-3 1865-8938 nnns volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 https://doi.org/10.1515/ang-2018-0014 Deutschlandweit zugänglich GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE AR 136 2018 1 10 03 154-170 17 |
| source |
Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 |
| sourceStr |
Enthalten in Anglia 136(2018), 1 vom: 10. März, Seite 154-170 volume:136 year:2018 number:1 day:10 month:03 pages:154-170 extent:17 |
| format_phy_str_mv |
Article |
| institution |
findex.gbv.de |
| isfreeaccess_bool |
false |
| container_title |
Anglia |
| authorswithroles_txt_mv |
Robson, Mark @@aut@@ |
| publishDateDaySort_date |
2018-03-10T00:00:00Z |
| hierarchy_top_id |
NLEJ248234986 |
| id |
NLEJ247915521 |
| fullrecord |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">NLEJ247915521</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20220820034811.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">220814s2018 xx |||||o 00| ||und c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/ang-2018-0014</subfield><subfield code="2">doi</subfield></datafield><datafield tag="028" ind1="5" ind2="2"><subfield code="a">articles2015-2020.pp</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)NLEJ247915521</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Robson, Mark</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Performing Democracy</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="b">De Gruyter Mouton</subfield><subfield code="c">2018</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">17</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come?</subfield></datafield><datafield tag="533" ind1=" " ind2=" "><subfield code="f">Walter de Gruyter Online Zeitschriften</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">Enthalten in</subfield><subfield code="t">Anglia</subfield><subfield code="g">136(2018), 1 vom: 10. März, Seite 154-170</subfield><subfield code="w">(DE-627)NLEJ248234986</subfield><subfield code="w">(DE-600)2406132-3</subfield><subfield code="x">1865-8938</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:136</subfield><subfield code="g">year:2018</subfield><subfield code="g">number:1</subfield><subfield code="g">day:10</subfield><subfield code="g">month:03</subfield><subfield code="g">pages:154-170</subfield><subfield code="g">extent:17</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/ang-2018-0014</subfield><subfield code="z">Deutschlandweit zugänglich</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_U</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-1-DGR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_NL_ARTICLE</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">136</subfield><subfield code="j">2018</subfield><subfield code="e">1</subfield><subfield code="b">10</subfield><subfield code="c">03</subfield><subfield code="h">154-170</subfield><subfield code="g">17</subfield></datafield></record></collection>
|
| series2 |
Walter de Gruyter Online Zeitschriften |
| author |
Robson, Mark |
| spellingShingle |
Robson, Mark Performing Democracy |
| authorStr |
Robson, Mark |
| ppnlink_with_tag_str_mv |
@@773@@(DE-627)NLEJ248234986 |
| format |
electronic Article |
| delete_txt_mv |
keep |
| author_role |
aut |
| collection |
NL |
| remote_str |
true |
| illustrated |
Not Illustrated |
| issn |
1865-8938 |
| topic_title |
Performing Democracy |
| publisher |
De Gruyter Mouton |
| publisherStr |
De Gruyter Mouton |
| format_facet |
Elektronische Aufsätze Aufsätze Elektronische Ressource |
| format_main_str_mv |
Text Zeitschrift/Artikel |
| carriertype_str_mv |
cr |
| hierarchy_parent_title |
Anglia |
| hierarchy_parent_id |
NLEJ248234986 |
| hierarchy_top_title |
Anglia |
| isfreeaccess_txt |
false |
| familylinks_str_mv |
(DE-627)NLEJ248234986 (DE-600)2406132-3 |
| title |
Performing Democracy |
| ctrlnum |
(DE-627)NLEJ247915521 |
| title_full |
Performing Democracy |
| author_sort |
Robson, Mark |
| journal |
Anglia |
| journalStr |
Anglia |
| isOA_bool |
false |
| recordtype |
marc |
| publishDateSort |
2018 |
| contenttype_str_mv |
txt |
| container_start_page |
154 |
| author_browse |
Robson, Mark |
| container_volume |
136 |
| physical |
17 |
| format_se |
Elektronische Aufsätze |
| author-letter |
Robson, Mark |
| doi_str_mv |
10.1515/ang-2018-0014 |
| title_sort |
performing democracy |
| title_auth |
Performing Democracy |
| abstract |
The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? |
| abstractGer |
The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? |
| abstract_unstemmed |
The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come? |
| collection_details |
GBV_USEFLAG_U ZDB-1-DGR GBV_NL_ARTICLE |
| container_issue |
1 |
| title_short |
Performing Democracy |
| url |
https://doi.org/10.1515/ang-2018-0014 |
| remote_bool |
true |
| ppnlink |
NLEJ248234986 |
| mediatype_str_mv |
c |
| isOA_txt |
false |
| hochschulschrift_bool |
false |
| doi_str |
10.1515/ang-2018-0014 |
| up_date |
2024-07-05T22:02:14.936Z |
| _version_ |
1803778192770596864 |
| fullrecord_marcxml |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">NLEJ247915521</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20220820034811.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">220814s2018 xx |||||o 00| ||und c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/ang-2018-0014</subfield><subfield code="2">doi</subfield></datafield><datafield tag="028" ind1="5" ind2="2"><subfield code="a">articles2015-2020.pp</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)NLEJ247915521</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Robson, Mark</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Performing Democracy</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="b">De Gruyter Mouton</subfield><subfield code="c">2018</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">17</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come?</subfield></datafield><datafield tag="533" ind1=" " ind2=" "><subfield code="f">Walter de Gruyter Online Zeitschriften</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">Enthalten in</subfield><subfield code="t">Anglia</subfield><subfield code="g">136(2018), 1 vom: 10. März, Seite 154-170</subfield><subfield code="w">(DE-627)NLEJ248234986</subfield><subfield code="w">(DE-600)2406132-3</subfield><subfield code="x">1865-8938</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:136</subfield><subfield code="g">year:2018</subfield><subfield code="g">number:1</subfield><subfield code="g">day:10</subfield><subfield code="g">month:03</subfield><subfield code="g">pages:154-170</subfield><subfield code="g">extent:17</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/ang-2018-0014</subfield><subfield code="z">Deutschlandweit zugänglich</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_U</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-1-DGR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_NL_ARTICLE</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">136</subfield><subfield code="j">2018</subfield><subfield code="e">1</subfield><subfield code="b">10</subfield><subfield code="c">03</subfield><subfield code="h">154-170</subfield><subfield code="g">17</subfield></datafield></record></collection>
|
| score |
7.4009724 |