Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.01
B. Kucała
As argued, among others, by Gaston Bachelard in The Poetics of Space (1958), a house which has been inhabited over a period of time becomes a composite of its physical structure and the mental space created by its residents’ thoughts, dreams and memories. This article analyses two contemporary novels in which houses as tangible manifestations of temporally remote experience provide a link to the Vic-torian past. Lauren Willig’s That Summer (2014) and Kate Beaufoy’s Another Heartbeat in the House (2015) represent the same type of neo-Victorian fiction: their plots are composed of two strands, one set in the modern age and the other in the nineteenth century, and in the course of each story parallels and conver-gences are revealed between the two ages and the two casts of characters. The article argues that both novels are also typical “romances of the archive” – as defined by Suzanne Keen (2001) − in which the ma-terial legacy of the past triggers a personally motivated inquiry, leading contemporary characters to un-cover certain bygone mysteries, and, crucially, to recognise the past’s continuing appeal and relevance.
{"title":"Housing the past: Victorian houses in neo - Victorian fiction","authors":"B. Kucała","doi":"10.15290/cr.2022.36.1.01","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.01","url":null,"abstract":"As argued, among others, by Gaston Bachelard in The Poetics of Space (1958), a house which has been inhabited over a period of time becomes a composite of its physical structure and the mental space created by its residents’ thoughts, dreams and memories. This article analyses two contemporary novels in which houses as tangible manifestations of temporally remote experience provide a link to the Vic-torian past. Lauren Willig’s That Summer (2014) and Kate Beaufoy’s Another Heartbeat in the House (2015) represent the same type of neo-Victorian fiction: their plots are composed of two strands, one set in the modern age and the other in the nineteenth century, and in the course of each story parallels and conver-gences are revealed between the two ages and the two casts of characters. The article argues that both novels are also typical “romances of the archive” – as defined by Suzanne Keen (2001) − in which the ma-terial legacy of the past triggers a personally motivated inquiry, leading contemporary characters to un-cover certain bygone mysteries, and, crucially, to recognise the past’s continuing appeal and relevance.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.04
K. Jęczmińska
The aim of the article is to analyse the living conditions presented in J. M. Coetzee’s novel Age of Iron with reference to differences between the white and black communities of Cape Town in South Africa. It argues that differences in the conditions of living related to social and racial divisions are also reflected in the visions of the afterlife. The protagonist of the novel, Mrs Curren, portrays white people as living in comfort and dying in old age due to natural causes. The moment of their death constitutes a transition from earthly life to spiritual or incorporeal existence. In contrast, black people die young in apartheid fights. The dismal portrayal of the destruction of black people’s housing corresponds to Mrs Curren’s naturalistic descriptions of the dead bodies of young black activists. Their death does not involve a transformation into a spirit that has shed its body; death offers no relief, since their bodies and souls remain in “African hell”.
{"title":"Spiritual and material dimensions of home in J. M.Coetzee’s Age of Iron","authors":"K. Jęczmińska","doi":"10.15290/cr.2022.36.1.04","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.04","url":null,"abstract":"The aim of the article is to analyse the living conditions presented in J. M. Coetzee’s novel Age of Iron with reference to differences between the white and black communities of Cape Town in South Africa. It argues that differences in the conditions of living related to social and racial divisions are also reflected in the visions of the afterlife. The protagonist of the novel, Mrs Curren, portrays white people as living in comfort and dying in old age due to natural causes. The moment of their death constitutes a transition from earthly life to spiritual or incorporeal existence. In contrast, black people die young in apartheid fights. The dismal portrayal of the destruction of black people’s housing corresponds to Mrs Curren’s naturalistic descriptions of the dead bodies of young black activists. Their death does not involve a transformation into a spirit that has shed its body; death offers no relief, since their bodies and souls remain in “African hell”.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.02
Tereza Topolovská
This article presents The Glass Room (2009), a novel by the British author Simon Mawer set in Brno, the Czech Republic, as a unique literary portrayal of a historical period and Modernist architecture in fiction. Shortlisted for the Man Booker Prize, the novel marked a turning point in its author’s career, inspiring both theatrical and film adaptations, and, perhaps more importantly, it sparked a resurgence of interest in its model, the famous Tugendhat House, a revolutionary piece of Modernist architecture built between 1928 and 1930 by Ludwig Mies van der Rohe. The narration of the novel is determined by the centrality of both the Landauer House and its main living space, the Glass Room, and their capacity to frame the intimate histories of the characters as well as the tumultuous social, political, and cultural developments of Central Europe. The spatial poetics of The Glass Room reflects this thematic complexity, whilst expressing the key aesthetic and ethical preoccupations of Modernist architecture and contribut-ing to the novel’s role in providing a multifaceted insight into history and architecture.
本文介绍了英国作家西蒙·莫尔的小说《玻璃屋》(2009)，这部小说以捷克共和国布尔诺为背景，是小说中对历史时期和现代主义建筑的独特文学描绘。这部小说入围了布克奖(Man Booker Prize)，标志着作者职业生涯的一个转折点，激发了戏剧和电影的改编，也许更重要的是，它引发了人们对其模型——著名的图根哈特大厦(Tugendhat House)的兴趣，这是路德维希·密斯·凡德罗(Ludwig Mies van der Rohe)在1928年至1930年间建造的一座革命性的现代主义建筑。小说的叙事是由兰道尔故居及其主要居住空间——玻璃室——的中心地位决定的，它们有能力构建人物的亲密历史，以及中欧动荡的社会、政治和文化发展。《玻璃屋》的空间诗学反映了这一主题的复杂性，同时表达了现代主义建筑的关键美学和伦理关注点，并有助于小说在提供对历史和建筑的多方面洞察方面发挥作用。
{"title":"The Glass Room: Housing space, time and history","authors":"Tereza Topolovská","doi":"10.15290/cr.2022.36.1.02","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.02","url":null,"abstract":"This article presents The Glass Room (2009), a novel by the British author Simon Mawer set in Brno, the Czech Republic, as a unique literary portrayal of a historical period and Modernist architecture in fiction. Shortlisted for the Man Booker Prize, the novel marked a turning point in its author’s career, inspiring both theatrical and film adaptations, and, perhaps more importantly, it sparked a resurgence of interest in its model, the famous Tugendhat House, a revolutionary piece of Modernist architecture built between 1928 and 1930 by Ludwig Mies van der Rohe. The narration of the novel is determined by the centrality of both the Landauer House and its main living space, the Glass Room, and their capacity to frame the intimate histories of the characters as well as the tumultuous social, political, and cultural developments of Central Europe. The spatial poetics of The Glass Room reflects this thematic complexity, whilst expressing the key aesthetic and ethical preoccupations of Modernist architecture and contribut-ing to the novel’s role in providing a multifaceted insight into history and architecture.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.03
Beata Piątek
This paper argues that Tana French effectively uses the figure of house and home in order to comment critically on the state of the nation in her Irish crime novels. The analysis focuses on three se-lected novels: The Likeness (2008), Broken Harbor (2012) and The Searcher (2020). It demonstrates that in The Likeness, French uses the historical and literary tradition of the Big House to comment on the economic and class tensions during the period of the economic boom known as the Celtic Tiger.2 In Broken Harbor, she employs the gothic mode of writing in her portrayal of the consequences of the credit crunch. And finally, in The Searcher, she debunks the myth of rural Ireland as a pastoral retreat and safe haven. The paper applies Susan Fraiman’s notions of “shelter writing” and “alternative homemakers” (2017) in order to show how French uses domestic space and domestic rituals in order to problematize gender stereo-types and undermine conservative expectations about the nuclear family.
{"title":"Ireland’s “broken” homes in the novels of Tana French","authors":"Beata Piątek","doi":"10.15290/cr.2022.36.1.03","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.03","url":null,"abstract":"This paper argues that Tana French effectively uses the figure of house and home in order to comment critically on the state of the nation in her Irish crime novels. The analysis focuses on three se-lected novels: The Likeness (2008), Broken Harbor (2012) and The Searcher (2020). It demonstrates that in The Likeness, French uses the historical and literary tradition of the Big House to comment on the economic and class tensions during the period of the economic boom known as the Celtic Tiger.2 In Broken Harbor, she employs the gothic mode of writing in her portrayal of the consequences of the credit crunch. And finally, in The Searcher, she debunks the myth of rural Ireland as a pastoral retreat and safe haven. The paper applies Susan Fraiman’s notions of “shelter writing” and “alternative homemakers” (2017) in order to show how French uses domestic space and domestic rituals in order to problematize gender stereo-types and undermine conservative expectations about the nuclear family.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.05
Barbara Klonowska
The concepts of “house” and “home” constitute two poles of experience which negotiate the space between economic and emotional safety. Associated with material well-being and personal rela-tionships, they may serve as litmus-paper tests to probe the economic and personal situation of people living on a given territory. The last to-date novel by the Australian novelist Peter Carey, A Long Way from Home (2017), takes up the issue of Australia as a metaphorical home to diverse groups of people: the white descendants of British colonisers, post-WWII survivors and immigrants, and the indigenous Aboriginal inhabitants of the continent. Employing the plot of the all-around-the-country car race, the novel shows how the land, seemingly homely and open to everybody, may be read as a palimpsest of trauma and pain, and quite inhospitable to many of its inhabitants. Referring to the concepts of the picaresque and chronotope, this article will argue that both the metaphoric and the literal meaning of the concepts of house and home are employed in the novel to disclose and discuss the internal and immigration policy of the Australia of the 1950s.
{"title":"Australia as an (in)hospitable home in Peter Carey’s A Long Way from Home (2017)","authors":"Barbara Klonowska","doi":"10.15290/cr.2022.36.1.05","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.05","url":null,"abstract":"The concepts of “house” and “home” constitute two poles of experience which negotiate the space between economic and emotional safety. Associated with material well-being and personal rela-tionships, they may serve as litmus-paper tests to probe the economic and personal situation of people living on a given territory. The last to-date novel by the Australian novelist Peter Carey, A Long Way from Home (2017), takes up the issue of Australia as a metaphorical home to diverse groups of people: the white descendants of British colonisers, post-WWII survivors and immigrants, and the indigenous Aboriginal inhabitants of the continent. Employing the plot of the all-around-the-country car race, the novel shows how the land, seemingly homely and open to everybody, may be read as a palimpsest of trauma and pain, and quite inhospitable to many of its inhabitants. Referring to the concepts of the picaresque and chronotope, this article will argue that both the metaphoric and the literal meaning of the concepts of house and home are employed in the novel to disclose and discuss the internal and immigration policy of the Australia of the 1950s.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66905045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.15290/cr.2022.36.1.06
M. Dudek
In contemporary discourses, the lives of migrants are often marginalised and silenced. For this reason, bringing the theme of migrants’ identities to the foreground in literary research appears to be increasingly important. This article discusses the experiences of Haitian immigrants to the US as nar-rated by the Haitian-American author Edwidge Danticat. I explore the theme of making a transnational home in her novel Breath, Eyes, Memory (1994) and short stories from the collection Everything Inside(2019). The analysis is based on a combination of two theories: Steven Vertovec’s theory of transnation-alism and Paul Ricoeur’s philosophy of narrative identity, which enable interpreting intergenerational identity changes, certain methods of cultural reproduction, and “little” cultural cross-connectedness of “family and household” (Vertovec 2009: 3-18) in the context of personal identity understood as formed through narratives. This article focuses on the transition from a Haitian home to an American one as an important part of identity-formation processes. It also views a migrant’s journey as still incomplete after coming to the US and requiring “emplotting” (De Fina 2003: 17) its fragmented events into stories. The article attempts to demonstrate intangible ways of creating a transnational home and domestic methods of narrating and negotiating one’s cultural identity in Danticat’s fiction. I claim that Danticat’s works narrate personal experiences to generate a “refigured” understanding of time and transnational ties within the family sphere.
{"title":"Identity and transnationalism: Narrating the Haitian - American home in selected works by Edwidge Danticat","authors":"M. Dudek","doi":"10.15290/cr.2022.36.1.06","DOIUrl":"https://doi.org/10.15290/cr.2022.36.1.06","url":null,"abstract":"In contemporary discourses, the lives of migrants are often marginalised and silenced. For this reason, bringing the theme of migrants’ identities to the foreground in literary research appears to be increasingly important. This article discusses the experiences of Haitian immigrants to the US as nar-rated by the Haitian-American author Edwidge Danticat. I explore the theme of making a transnational home in her novel Breath, Eyes, Memory (1994) and short stories from the collection Everything Inside(2019). The analysis is based on a combination of two theories: Steven Vertovec’s theory of transnation-alism and Paul Ricoeur’s philosophy of narrative identity, which enable interpreting intergenerational identity changes, certain methods of cultural reproduction, and “little” cultural cross-connectedness of “family and household” (Vertovec 2009: 3-18) in the context of personal identity understood as formed through narratives. This article focuses on the transition from a Haitian home to an American one as an important part of identity-formation processes. It also views a migrant’s journey as still incomplete after coming to the US and requiring “emplotting” (De Fina 2003: 17) its fragmented events into stories. The article attempts to demonstrate intangible ways of creating a transnational home and domestic methods of narrating and negotiating one’s cultural identity in Danticat’s fiction. I claim that Danticat’s works narrate personal experiences to generate a “refigured” understanding of time and transnational ties within the family sphere.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66905107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.15290/cr.2021.34.3.01
Christopher Hansen
This article seeks to provide an analysis of Tolkien’s portrayal of feminine figures by emphasizing the roles of Ungoliant and Shelob, the monstrous spiders which Tolkien codes female, and finding how these sexual and procreative beings fit into Tolkien’s theological and gender essentialist views of women, and then how this reflects on other women within Tolkien’s legendarium, arguing that far from any of Tolkien’s women being empowered, they are instead always subservient to his essentialist understandings of women, that they are biologically and intellectually usually inferior to men and have specific gendered roles in Tolkien’s very Catholic gender binary, and so his literary women are in fact not empowered but fit into his restrictive sense of gender roles between men and women.
{"title":"The monstrous feminine: Ungoliant, Shelob, and women in Tolkien’s Middle-Earth","authors":"Christopher Hansen","doi":"10.15290/cr.2021.34.3.01","DOIUrl":"https://doi.org/10.15290/cr.2021.34.3.01","url":null,"abstract":"This article seeks to provide an analysis of Tolkien’s portrayal of feminine figures by emphasizing the roles of Ungoliant and Shelob, the monstrous spiders which Tolkien codes female, and finding how these sexual and procreative beings fit into Tolkien’s theological and gender essentialist views of women, and then how this reflects on other women within Tolkien’s legendarium, arguing that far from any of Tolkien’s women being empowered, they are instead always subservient to his essentialist understandings of women, that they are biologically and intellectually usually inferior to men and have specific gendered roles in Tolkien’s very Catholic gender binary, and so his literary women are in fact not empowered but fit into his restrictive sense of gender roles between men and women.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.15290/cr.2021.35.4.01
Costanza Mondo
In By the Sea, written by Abdulrazak Gurnah in 2001, the theme of the homecoming is of paramount importance. The trajectory of the main characters’ movement is fragmented and incomplete in the sense that they end up feeling at home in a foreign country rather than choosing their birthplace, Zanzibar. By referring to selected scenes from Gurnah’s narrative, the present paper aims to analyse the images of home portrayed in the novel and the discontinuous character of the homecoming it depicts. In addition, the role of storytelling is investigated so as to show its importance for two related processes: homecoming and community-forging.
{"title":"Discontinuous homecoming and community-forging storytelling in Abdulrazak Gurnah’s By the Sea","authors":"Costanza Mondo","doi":"10.15290/cr.2021.35.4.01","DOIUrl":"https://doi.org/10.15290/cr.2021.35.4.01","url":null,"abstract":"In By the Sea, written by Abdulrazak Gurnah in 2001, the theme of the homecoming is of paramount importance. The trajectory of the main characters’ movement is fragmented and incomplete in the sense that they end up feeling at home in a foreign country rather than choosing their birthplace, Zanzibar. By referring to selected scenes from Gurnah’s narrative, the present paper aims to analyse the images of home portrayed in the novel and the discontinuous character of the homecoming it depicts. In addition, the role of storytelling is investigated so as to show its importance for two related processes: homecoming and community-forging.","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.15290/cr.2021.34.3.02
Khandakar Ashraful Islam
Biopolitics—the maneuvers and stratagems employed to regulate, manage and govern people—is one of the most contested theoretical paradigms, which deals with the relation between state politics and human lives. While Foucault links the biopolitical nomos with the oppressive practices which render the human body docile, Giorgio Agamben sheds light on the new biopolitical nomos, which applying the most draconian means, subdue people within the law. According to Agamben, the arbitrary use of such sovereign power not only robs of the constitutional rights of the individuals but also denies their rights to live. Agamben observes that under the new biopolitical nomos each individual is exposed to the threat of being treated as a Homo Sacer, whose life can be taken with impunity. Focusing on Foucault’s concept of biopolitics and applying Agamben’s concepts like “state of exception” and Homo Sacer, the present paper investigates into Arundhati Roy’s The God of Small Things and The Ministry of Utmost Happiness to argue that in present-day India; the enactment of juridico-discursive power (communal riots, lynching, and violence to the lower caste) is not only denying the human rights of the minority groups but also exposing them to a “bare life.”
{"title":"Biopolitical Nomos and “bare life” in Arundhati Roy’s novels","authors":"Khandakar Ashraful Islam","doi":"10.15290/cr.2021.34.3.02","DOIUrl":"https://doi.org/10.15290/cr.2021.34.3.02","url":null,"abstract":"Biopolitics—the maneuvers and stratagems employed to regulate, manage and govern people—is one of the most contested theoretical paradigms, which deals with the relation between state politics and human lives. While Foucault links the biopolitical nomos with the oppressive practices which render the human body docile, Giorgio Agamben sheds light on the new biopolitical nomos, which applying the most draconian means, subdue people within the law. According to Agamben, the arbitrary use of such sovereign power not only robs of the constitutional rights of the individuals but also denies their rights to live. Agamben observes that under the new biopolitical nomos each individual is exposed to the threat of being treated as a Homo Sacer, whose life can be taken with impunity. Focusing on Foucault’s concept of biopolitics and applying Agamben’s concepts like “state of exception” and Homo Sacer, the present paper investigates into Arundhati Roy’s The God of Small Things and The Ministry of Utmost Happiness to argue that in present-day India; the enactment of juridico-discursive power (communal riots, lynching, and violence to the lower caste) is not only denying the human rights of the minority groups but also exposing them to a “bare life.”","PeriodicalId":34828,"journal":{"name":"Crossroads","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66904414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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