440:"Angry Black woman stereotype" is one of the ways in which Black women are made hyper-visible. Hyper-visibility happens when people focus too much on someone's race, leading to their personality being disregarded. Black women often face this in workplaces while being victims of this negative stereotype that increases their risk of performance pressure and stress. It may cause them to change their behavior or appearance as it reduces their sense of identity, as well as working harder to prove their worth. The fear of stereotype threat and becoming unemployed from their workplace not only leads them to pushing themselves to tokenized by the white-dominant work force in order to be treated fairly, but it also increases their risk of mental health issues like anxiety. In predominately White workplaces, Black women are often viewed as many racial stereotypes along which they are being undervalued, preventing them from expressing their authentic personality and skills. White and Black colleagues can express many types of emotions at work, although, Black women's stress are often misperceived as anger, usually when dealing with poorly managed conflicts, and happiness.
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them more prone to exploitation, such as sex trafficking. Black girls are often subject to adultification and perceived as inherently sexual and promiscuous. This way of thinking has robbed them of their childhood and innocence. It has instead forced them into victimization by adults within their lives. The adverse childhood experiences that often trigger or result from an over-sexualization from a young age often make young black girls more vulnerable to domestic minor sex trafficking. Due to this, it has been found that black girls not only have a higher chance of being trafficked but are now seen as overrepresented among trafficked children despite their population. It is found that the
Jezebel stereotypes have prevailed to the extent that many adults believe that black girls "know more about sex, need to be supported less, need less protection, and know more about adult topics". This, accompanied by the fact that those who enforce and uphold the law also carry these biases, places young black girls in vulnerable positions where they are forced to take responsibility for their victimization.
356:, in various forms of mass communication, congruently portraying black women as people who are malevolent, prone to retaliate in an arbitrary and frightening manner, unnecessarily aggressive, and obnoxious. Similarly, these outlets also use black women in television as a peripheral character utilized for comedic relief and are associated with the connotation of Black women being the needy or obsessive seductress, lacking moral cognizance, dignity, and restraint. Black women view this differently. As in various films, lead black women actresses are consistently depicted as angry, inclined to start an argument whereas black men are portrayed in a comparatively positive manner, with somewhat relatable, redeeming qualities. Black women are often portrayed as a belligerent convict and a poor single mother with a lack of higher education. This stereotype has changed over time, however, the media still depicts black women in a negative perspective.
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sexually liberated woman who takes pride in her sexual identity, the patriarchal undertones of her existence cannot be ignored. The
Jezebel is described as "wanting to please men; only by doing this would they achieve both sexual gratification and personal satisfaction". So, even if a woman seeks sex for her satisfaction, it is still for the benefit of men. This is demonstrated within Rick James' 1981 song "Super Freak," where he speaks of a "very kinky girl...the kind you don't take home to mother". He acknowledges his enjoyment of being with a "freak'. Still, he degrades her existence by deeming her unworthy of meeting his mother. This amoral depiction is also symbolized in Dr. Dre and Snoop Dogg's "Bitches Ain't Shit" anthem (1992), which is an explicit telling of a few occurrences of women they have experienced being both the prowling Jezebel and the aforementioned Gold Digger.
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as this painted them as inherently tempestuous and beguiling. Mass Media plays an integral part in displaying
Jezebel stereotypes in a modern context. Jezebel has grown to encompass new sexual scripts, such as the Gold Digger and the Freak. These new sexual scripts within Hip Hop and Rap, have gained momentum in popular culture and have gained considerable influence. Unfortunately for young black girls, these scripts have reduced their agency within their sexuality and significantly affect their treatment by others. The exposure to social media platforms such as YouTube, Instagram, TikTok, and more have created an environment where children learn their behaviors from people online.
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constructs still prevail in modern contexts. With the creation and establishment of Hip Hop and Rap as a culture, Black youth found themselves in a position of creating and defining what was cool and trendy but still trapped by neocolonialism. Despite Hip Hop having significant cultural significance to the
African American experience, they were still controlled by white media and, therefore, had to adhere to their expectations. Due to that, African American women in this industry were imaged after slavery constructs, such as the Jezebel. Thus, their bodies came to be redefined as sexual and temptations through media platforms such as music videos.
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characters that is sometimes portrayed. "It's been difficult to be a black women without not being angry after generations of oppression, discrimination and erasure. Black women aren't allowed to express frustration and passions without being criticized and demonized. They are labeled as loud, vindictive and always in trouble as men are allowed to get upset without constructive criticism because it can establish their masculinity. The strong black women myth often does well in movies and TV shows, but has contributed to making black women look miserable and nonproductive as opposed to other groups/races in reality."
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Gold Digger uses sex to acquire a man who can. The 2018 viral song, "Act Up" by City Girls utilizes this theme in some of its first lines, "Stripes on my ass so he calls this pussy Tigger, fuckin' on a scammin' ass, rich ass, ni**a." The Gold Digger sexual script has been exemplified in many rap songs by both women and men. Rapper Trina in her 2000 song "Da
Baddest Bitch" demonstrates the Gold Digger lifestyle through her lyrics such as: "The bigger the bank, the bigger the Benz, the better the chance to get close to his rich friends" and "Bank accounts in the Philippines. Blank note to take everything".
253:. Towards the early 1970s, Blaxploitation became a prominent film genre, capitalizing off of a new trope which emerged from the combination of two previous caricatures- Jezebel and Sapphire. This combination birthed a separate caricatures that took the overly sexual and aggressive perception of Black women and use it to fight crime. The Angry Black Woman was reinvented, as actresses were able use their "bodies, brains, and guns" to play as a seductress fighting crime. Actresses such as Pam Grier profited off of this genre, using her debut in Blaxploitation films to advance her career.
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155:" stereotype or, colloquially, "Sistas with Attitude". She defines the pervasive Sapphire/ABW image as "a template for portraying almost all Black women" and as serving several purposes. West paraphrases Melissa V. Harris-Perry who contends, "...because passion and righteous indignation is often misread as irrational anger, this image can be used to silence and shame Black women who dare to challenge social inequalities, complain about their circumstances, or demand fair treatment".
27:
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African-American men. The
Sapphire is thought to be closely related to the Mammy, though instead of a comforting demeanor, she is far more sexualized. The Sapphire is often seen as abusive, possessing a strong need to dominate, and looking for opportunities to project her own unhappiness upon others. The Sapphire poses as a persistent nagger, complaining not in hopes of a solution, but rather because she herself is bitter.
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can lead to negative interpretations of Black women's self-expression. We see this replicated as well in film, through portraying
African American women as far older in order to remove sympathy garnering characteristics from Black characters. Through these media and social platforms the stereotype was cultivated and sustained.
173:, Crenshaw explains that black people experience a unique discrimination from white people, and women experience a unique discrimination from men. Black women, consequently, experience a unique form of discrimination from black men and white women and cannot only be judged based on the singularities of race or gender.
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writes, "slave women understood the value of silence and secrecy... like all who are dependent upon the caprices of a master, they hide their real sentiments and turn toward him changeless smile or enigmatic passivity". In other words, slavery poses a direct correlation to the Black women's emotional
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The pervasiveness of the angry Black woman stereotype has led many Black women to feel unable to express themselves in fear of being perceived as angry. Although often labelled as "angry" unnecessarily, Black women's anger is also characterized as unjustified in instances in which anger is warranted.
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With roots in slavery, the sapphire archetype was further replicated in films, shows, and literature by the early 1930s. The negative portrayals of
African Americans in television and film influences perceptions of them in real life. The reinforcement of the angry Black woman stereotype through media
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displeasure, bitterness or rage because of her significant other. The term has also been generalized to refer to Black women who show extreme emotion. It was utilized as a means to prove oppression was not as imminent of an issue, if Whites accepted Black women who acted according to this caricature.
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Unlike the Gold Digger, the Freak doesn't seek financial security in exchange for sex but instead seeks nothing but to satiate her intense sexual hunger. A Freak carries no emotional ulterior motive and searches for sex "in any place, any position, and with any person". Although often described as a
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Negative caricatures of Black women historically justified their exploitation. The
Sapphire archetype painted enslaved women as impure, strong, masculine, dominant, and aggressive who drove their children and partners away. This archetype characterizes the Black woman as experiencing disappointment,
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Feminists believe that this is still extremely prevalent today, while non-feminists assert that there is a wide variety of black characters in all forms of media today, including both stereotypes and stereotype-free characters. Both groups do note that the "angry black woman" is one of the types of
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Black women have used various platforms and mediums to fight back against the Angry Black Women trope that has contributed to their marginalization for centuries. A number of Black women provide insight on how the stereotype is reinforced in the media, social spaces, and interpersonal interactions.
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The
Jezebel constructed a harmful perception of Black women that heavily contributed to their sexual and economic exploitation. The sexual narratives perpetuated to the public through media about black women have created stigmas and biases within the educational and juvenile justice system and made
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is a stereotype used to refer to fair-skinned, slimmer, and lighter-eyed Black women, becoming hyper-sexualized by America and its media soon after the Mammy trope began its decline. Similar to the Sapphire, this trope was used as a justification for the harassment and assaults against Black women,
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is a term associated with the most dominant portrayals of Black women. According to the stereotype, Sapphires were perceived as malicious and stubborn, with an overbearing nature. Aside from being depicted as unnecessarily loud and violent, Sapphires were also known to have an insatiable desire for
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The sapphire archetype coincides with the mammy and Jezebel. All three of these archetypes uphold the angry black woman stereotype, but in different ways. In the archetype of mammy, black women were characterized as caregivers and submissive, while the Jezebel is characterized as dependent on men,
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The Gold Digger is a prolific figure within hip-hop and pop culture. The idea is that a woman, usually a black woman in the context of Hip Hop culture, will use sex to gain their financial needs and desires from men. Men are there to serve financial purposes, and when they can longer provide, the
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Black feminists have discredited the trope of the angry Black woman and recognize the validity in a black woman's anger. Black women are demanding a more accurate representation in the media overall in order to further the progression of the Black woman. Black feminists believe that the positive
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Black women are expected to appear strong-willed and self-sacrificing in their daily lives, regardless of the traumas they experience due to being a Black women in a dominant society. The tropes used to label black women and exposure to institutionalized racism over an extensive period can have
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The Jezebel presents as a slave construct, depicting Black women as "promiscuous" and "lustful". During slavery, lighter skinned women were seen as more worthy concubines to wealthy slave owners, whereas darker skinned women were more worthy for harsher labor such as field work. These slave
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was particularly one of the first media outlets that reinforced the stereotype. In this production two white men voiced Black characters. Among those characters were Black women. The narrative of anger, assertiveness, and frequent emasculation was echoed with characters such as
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Deeming Black women's anger invalid or inappropriate shifts the focus from the cause of the anger to the reaction itself. This may be a conscious or subconscious action on behalf of the individual(s) labeling a Black woman as angry in order to shift blame or responsibility.
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The aftermath of slavery not only resulted in many social, economic and political effects but also led to the delineation of negative racial stereotypes in the portrayal of black women in media. The industry frequently displayed the stereotypical ideas of black women from
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Furthermore, Black women, whether if it's through activism, academia, art, or dance, affirm their rage. Through such activism and discourse, Black women have opened many conversations regarding the dismissal and scrutiny of their emotions.
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Researchers have found effective coping strategies to combat the everlasting effects of racism, such as relying heavily on spirituality and placing their belief in a non-material and non-observational being. Vernessa R. Clark, author of
432:, notes that there are numerous coping styles that can be both effective or ineffective, but each consists of simultaneously accepting the effects of racism while denying the White institutions and productions that promote racism.
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describes "the myth of the angry Black woman that characterizes these women as aggressive, ill tempered, illogical, overbearing, hostile, and ignorant without provocation" as a negative stereotype that victimizes black women.
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Kilgore, Alexcia M; Kraus, Rachel; Littleford, Linh Nguyen (December 2020). "'But I'm not allowed to be mad': How Black women cope with gendered racial microaggressions through writing".
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afflictions; the stress accompanying racial and gender-based discrimination can manifest into health issues such as anxiety, depression, substance abuse, and cardiovascular disease.
1588:. Baptist News Global. Retrieved December 7, 2022, from https://baptistnews.com/article/jezebel-is-one-of-three-common-racial-slurs-against-all-black-women-and-girls/#.Y5AabezMKhY
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891:"How the Jezebel Stereotype has been Weaponized Against Black Girls and Made Them Vulnerable to Sex Trafficking: An Examination of Carceral Public Systems"
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defined and pioneered the analysis of the term "intersectionality" which describes this dual conflict experienced by black women specifically. In her
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Walley-Jean, J. Celeste (Fall 2009). "Debunking the Myth of the "Angry Black Woman": An Exploration of Anger in Young African American Women".
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promiscuous, aggressive, and arrogant. The reproduction of these archetypes in popular culture legitimized the dehumanization of black women.
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Naeemah Clark (November 10, 2013). "Find real African American women in a beauty salon, not on reality TV". Greensboro News & Record.
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1378:"Managing hypervisibility: An exploration of theory and research on identity shifting strategies in the workplace among Black women"
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Ashley, Wendy (November 4, 2013). "The Angry Black Woman: The Impact of Pejorative Stereotypes on Psychotherapy with Black Women".
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804:"Freaks, gold diggers, divas, and dykes: The sociohistorical development of adolescent African American women's sexual scripts"
765:"Freaks, gold diggers, divas, and dykes: The sociohistorical development of adolescent African American women's sexual scripts"
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Examples of modern movies containing one or more "angry black woman" character include the Madea series of movies, the TV show
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aspects of a Black woman's experience should be depicted in the media as well to hinder the persistence of this stereotype.
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Black women were perceived to be loud, overly expressive, and generally negative and rude in nature. The 1930s radio show
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Morgan, Marcyliena; Bennett, Dionne (May 10, 2007). "Getting Off of Black Women's Backs: Love Her or Leave Her Alone".
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Ashley, Wendy (2014). "The angry black woman: the impact of pejorative stereotypes on psychotherapy with black women".
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Kretsedemas, Philip (2010). "'But She's Not Black!': Viewer Interpretations of 'Angry Black Women' on Prime Time TV".
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1581:. Jim Crow Museum. Retrieved December 7, 2022, from https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm
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644:"Mammy, Sapphire, Jezebel, and the Bad Girls of Reality Television: Media Representations of Black Women"
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Punyanunt-Carter, Narissa (2008). "The Perceived Realism of African American Portrayals on Television".
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1607:"Aggressive Encounters & White Fragility: Deconstructing the Trope of the Angry Black Woman"
1000:"Aggressive Encounters & White Fragility: Deconstructing the Trope of the Angry Black Woman"
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In regards to culturally relevant practices during mental health treatment, Ashley W, author of
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The angry black woman: the impact of pejorative stereotypes on psychotherapy with black women.
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1417:""It's Just My Face:" Workplace Policing of Black Professional Women in Higher Education"
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1058:"Reality TV gives the 'angry black woman' a bad name. Sometimes anger is a good thing"
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response, being taught that a domineering personality could be viewed as threatening.
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Motro, Daphna; Evans, Jonathan B.; Ellis, Aleksander P. J. (January 31, 2022).
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Dickens, Danielle D.; Womack, Veronica Y.; Dimes, Treshae (August 1, 2019).
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141:, the angry black woman stereotype is less studied by researchers than the
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1740:"Stereotypes of Black American Women Related to Sexuality and Motherhood"
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1782:"Debunking Sapphire: Toward a Non-Racist and Non-Sexist Social Science"
1128:"The 'Angry Black Woman' Stereotype Makes Me Hesitate to Defend Myself"
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by removing items or incorporating them into the text of the article.
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Williams, Charmaine C. (2001). "The Angry Black Woman Scholar".
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Settles, Isis H.; Buchanan, NiCole T.; Dotson, Kristie (2019).
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categorizes the Angry Black Woman (ABW) as a variation on the "
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Kimberlé Crenshaw: The Urgency of Intersectionality | TED Talk
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Sister Citizen: Shame, Stereotypes, and Black Women in America
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Sister Citizen: Shame, Stereotypes, and Black Women in America
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Sister Citizen: Shame, Stereotypes, and Black Women in America
1325:"How the 'Strong Black Woman' Identity Both Helps and Hurts"
618:. New Haven, Conn.: Yale University Press. pp. 88–89.
1709:"Serena Williams and the Trope of the 'Angry Black Woman'"
1180:"The Angry Black Woman Stereotype Has Ceased to Fade Away"
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1560:"Does Fox's 'Empire' Break or Bolster Black Stereotypes?"
1154:"Why Hollywood's Portrayal of Black Women Is Problematic"
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Stephens, Dionne P.; Phillips, Layli D. (March 1, 2003).
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Stephens, Dionne P.; Phillips, Layli D. (March 1, 2003).
1199:"Black Women and the Thin Line between Strong and Angry"
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Ar'n't I a Woman?: Female Slaves in the Plantation South
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1738:Rosenthal, Lisa; Lobel, Marci (September 2016).
1624:"The 'Angry Black Woman' Makes Real Women Angry"
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134:as pugnacious, poorly mannered, and aggressive.
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1659:Du Bois Review: Social Science Research on Race
1646:"The Uses of Anger: Women Responding to Racism"
1594:"The 'angry black woman' is a false stereotype"
1421:Journal of Women and Gender in Higher Education
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224:Perpetuation and reproduction of the stereotype
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1152:Higgins, Ed.D., Jonathan (November 26, 2016).
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139:stereotypes of groups within the United States
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1605:Jones, Trina; Norwood, Kimberly Jade (2017).
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965:Translational Issues in Psychological Science
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1499:"Let's stop the angry black woman narrative"
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553:"The "Angry Black Woman" Stereotype at Work"
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578:Kelley, Blair L. M. (September 25, 2014).
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111:Learn how and when to remove this message
1785:Journal of Sociology and Social Welfare.
1622:Kerwin, Ann Marie (September 27, 2017).
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488:Criminal stereotype of African Americans
430:The Perilous Effects of Racism on Blacks
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1505:. Burnaby, BC: Simon Fraser University.
1415:Williams, Brittany M. (April 3, 2023).
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416:lasting effects in the form of chronic
195:The sexuality of the Jezebel stereotype
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16:Stereotype about Black American women
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843:"The Jezebel Stereotype and Hip-Hop"
841:II, Byron Mason (December 6, 2019).
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674:. New Haven: Yale University Press.
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49:adding citations to reliable sources
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1796:"The Myth of the Angry Black Woman"
1707:Prasad, Ritu (September 11, 2018).
1497:Batengas, Edna (November 1, 2016).
1239:Journal of African American Studies
1178:Hardnett, Rana (October 25, 2018).
895:Journal of African American Studies
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1780:Scott, Patricia Bell (July 1977).
1592:Horton, Kennedy (April 26, 2017).
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1056:Freeman, Macy (October 27, 2017).
1023:Black Women, Gender & Families
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261:Relationships to other stereotypes
132:stereotype of Black American women
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2108:African-American gender relations
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1577:Ferris State University. (2022).
1126:Purks, Ebony (February 3, 2021).
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668:Harris-Perry, Melissa V. (2011).
510:Fiery Latina and the hot señorita
2118:Stereotypes of African Americans
1584:McLean, Y. (2021, February 14).
1558:Deggans, Eric (March 18, 2015).
1548:The Urgency of Intersectionality
1323:Manke, Kara (December 5, 2019).
520:Stereotypes of African Americans
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1197:Mulata, Mala (August 9, 2020).
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1744:Psychology of Women Quarterly
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559:. Harvard Business Publishing
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2123:Stereotypes of black women
1562:. Pop Culture Happy Hour.
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717:White, Deborah G. (1985).
494:Diary of a Tired Black Man
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1865:"Ain't I a Woman" (video)
1694:, Ferris State University
1688:"The Sapphire Caricature"
1671:10.1017/s1742058x06060334
1600:. University of Missouri.
1394:10.1016/j.jvb.2018.10.008
1360:10.1016/j.jvb.2018.06.003
1251:10.1007/s12111-009-9116-3
942:10.1080/10646170802218263
642:West, Carolyn M. (2017).
269:Gender studies professor
1951:Fried chicken stereotype
1821:10.2979/NWS.2001.13.2.87
1756:10.1177/0361684315627459
1686:Pilgrim, David (2012) .
1524:10.1177/0891243205276755
1203:Medium, Age of Awareness
871:. Yale University Press.
867:Harris-Perry, M (2011).
610:Harris-Perry, Melissa V.
145:and Jezebel archetypes.
2128:Female stock characters
1931:Black American princess
1732:Ferris State University
1579:The sapphire caricature
557:Harvard Business Review
278:Black feminist response
2068:Black people in comics
1728:The Jezebel Stereotype
1089:"Black Women in Films"
2113:Slang terms for women
2073:Colored people's time
1976:Watermelon stereotype
1644:Lorde, Audre (1981).
1546:Crenshaw, Kimberlé. “
1087:Mapp, Edward (1973).
808:Sexuality and Culture
769:Sexuality and Culture
723:. New York: Norton.
458:United States portal
45:improve this article
1184:The Black Explosion
1062:The Washington Post
590:on January 21, 2015
160:Columbia University
60:"Angry black woman"
2086:Life as a BlackMan
1946:Criminal black man
1867:, Kai Davis Poetry
1512:Gender and Society
1035:10.1353/bwg.0.0011
977:10.1037/tps0000259
820:10.1007/BF03159848
781:10.1007/BF03159848
328:clean up the lists
271:Deborah Gray White
2095:
2094:
1992:Angelfood McSpade
1921:Angry black woman
1726:Pilgrim, David. “
1554:, TEDWomen, 2016,
1093:The Black Scholar
847:Prindle Institute
730:978-0-393-02217-9
681:978-0-300-16541-8
625:978-0-300-16554-8
393:, a character in
391:Wilhelmina Slater
382:, a character in
345:
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167:Kimberlé Crenshaw
125:angry black woman
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2007:Coon Chicken Inn
1961:Mammy stereotype
1941:Black matriarchy
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371:Sapphire, from
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32:
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1845:cite journal
1815:(2): 87–97.
1812:
1809:NWSA Journal
1808:
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1731:
1716:. Retrieved
1696:. Retrieved
1662:
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1627:
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1610:
1598:The Maneater
1597:
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1578:
1567:. Retrieved
1551:
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1502:
1468:(1): 27–34.
1465:
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1427:(2): 67–89.
1424:
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1329:Greater Good
1328:
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1288:(1): 27–34.
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1202:
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1072:December 11,
1070:. Retrieved
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852:November 23,
850:. Retrieved
846:
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651:. Retrieved
648:ResearchGate
647:
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592:. Retrieved
588:the original
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149:Carolyn West
147:
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130:is a racial
124:
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43:Please help
38:verification
35:
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2058:House negro
1997:Bigger Hair
1985:Caricatures
1966:Video vixen
1908:Stereotypes
1734:, July 2002
1718:October 15,
1698:October 15,
1635:October 15,
1569:October 15,
1388:: 153–163.
1132:The Tempest
814:(1): 3–49.
775:(1): 3–49.
653:January 16,
594:January 24,
505:Dragon Lady
500:Double bind
380:Aunt Esther
318:information
239:Aunt Esther
162:and at the
2102:Categories
2079:Ghettopoly
2043:Black doll
2022:Pickaninny
1936:Black Buck
533:References
471:Black Buck
396:Ugly Betty
312:unverified
291:Portrayals
128:stereotype
71:newspapers
2063:Uncle Tom
2012:Coon song
2002:Blackface
1926:Baby mama
1837:144364572
1679:144020703
1540:145239066
1443:2637-9112
1402:0001-8791
1267:142722769
1208:April 30,
1163:April 30,
1137:April 30,
1113:0006-4246
1043:143244228
985:225192933
915:1936-4741
828:1936-4822
789:1936-4822
690:711045639
563:March 28,
538:Citations
354:sapphires
2048:Miss Ann
2017:Golliwog
1774:27821904
1713:BBC News
1532:30044616
1503:The Peak
1490:25338484
1482:24188294
1310:25338484
1302:24188294
1259:41819243
1158:The Root
1066:Archived
950:10629060
739:11785433
703:Ted Talk
612:(2011).
584:The Root
444:See also
418:physical
183:Sapphire
171:TED talk
153:Sapphire
101:May 2018
1829:4316815
1765:5096656
350:mammies
201:Jezebel
85:scholar
2027:Rastus
1835:
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1629:Ad Age
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1833:S2CID
1825:JSTOR
1675:S2CID
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1528:JSTOR
1486:S2CID
1306:S2CID
1263:S2CID
1255:JSTOR
1039:S2CID
981:S2CID
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482:Cholo
352:, to
241:from
143:Mammy
92:JSTOR
78:books
1851:link
1790:(6).
1770:PMID
1720:2019
1700:2019
1637:2019
1617:(5).
1571:2019
1478:PMID
1439:ISSN
1398:ISSN
1298:PMID
1210:2021
1165:2021
1139:2021
1109:ISSN
1074:2018
911:ISSN
854:2023
824:ISSN
785:ISSN
735:OCLC
725:ISBN
686:OCLC
676:ISBN
655:2022
620:ISBN
596:2015
565:2024
420:and
199:The
123:The
64:news
1817:doi
1760:PMC
1752:doi
1730:.”
1667:doi
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1564:NPR
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