Abstract:On the rare occasion Sappho makes an appearance in critical theory, she is mobilized as a foil for thinking about theory's need to imagine the effacement of its own material conditions. This essay argues that from Heidegger’s pre-discursive disclosure of truth to Nancy’s sexuated ontology and Kittler’s hypothesis about the birth of the phonetic alphabet, Sappho is reduced to the trope of the maternal-yet-jealous-lover and transfigured into a doubly self-signifying absence wherein hetero-adjacency goes hand in hand with a supposed Europe-adjacency. Revisiting a philological uncertainty in Poem 1, I show instead that rather than ruled by her passions, Sappho is artfully in control of the many-minded inhabitations of her personae and, as such, mounts a challenge to the way the public sphere has been understood since at least Kant. Contrasting Sappho’s constructions of synaesthetic space and recursive time with Carazan’s dream, the short story that, for Kant, illustrates the “terrifyingly sublime” feeling prompting sociability among the unsociable, I argue that Sappho combines love and strategy to bring friend and foe together in an enchanted state that, as a spectre of her Aeolic dialect in Poem 31 illustrates, advances a politics of non-recognition.
{"title":"Sapphic Sociability","authors":"Julia Ng","doi":"10.1353/dia.2021.0025","DOIUrl":"https://doi.org/10.1353/dia.2021.0025","url":null,"abstract":"Abstract:On the rare occasion Sappho makes an appearance in critical theory, she is mobilized as a foil for thinking about theory's need to imagine the effacement of its own material conditions. This essay argues that from Heidegger’s pre-discursive disclosure of truth to Nancy’s sexuated ontology and Kittler’s hypothesis about the birth of the phonetic alphabet, Sappho is reduced to the trope of the maternal-yet-jealous-lover and transfigured into a doubly self-signifying absence wherein hetero-adjacency goes hand in hand with a supposed Europe-adjacency. Revisiting a philological uncertainty in Poem 1, I show instead that rather than ruled by her passions, Sappho is artfully in control of the many-minded inhabitations of her personae and, as such, mounts a challenge to the way the public sphere has been understood since at least Kant. Contrasting Sappho’s constructions of synaesthetic space and recursive time with Carazan’s dream, the short story that, for Kant, illustrates the “terrifyingly sublime” feeling prompting sociability among the unsociable, I argue that Sappho combines love and strategy to bring friend and foe together in an enchanted state that, as a spectre of her Aeolic dialect in Poem 31 illustrates, advances a politics of non-recognition.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44425687","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}
Abstract:The figure of Woman recurs in Alain Badiou's mathematical ontology. Not only does he cast the indiscernible element of set theoretical forcing as (♀) in Being and Event, but he also analogizes the depiction of femininity within the opera Ariadne and Bluebeard with his theory of appearance in Logics of Worlds. There the rebellious Ariadne’s matrix of relationships with Bluebeard’s willingly-imprisoned wives constitutes an “absolutely heterogenous feminine ground” exterior to the “new feminine world” that her eventual escape opens up. How can the ground of appearance be absolutely heterogenous yet still feminine, recognizably the world of Woman? Badiou uses category theory to argue that a being’s appearance is only possible between a minimum—Alladine, who stays—and a maximum—Ariadne, who leaves. This paper takes up his theories of change and appearance as a vital, if problematic, avenue for thinking gender and sex transition as a properly ontological event.
{"title":"Alladine and Ariadne: The Place of Woman in Badiouan Ontology","authors":"Nora Fulton","doi":"10.1353/dia.2021.0020","DOIUrl":"https://doi.org/10.1353/dia.2021.0020","url":null,"abstract":"Abstract:The figure of Woman recurs in Alain Badiou's mathematical ontology. Not only does he cast the indiscernible element of set theoretical forcing as (♀) in Being and Event, but he also analogizes the depiction of femininity within the opera Ariadne and Bluebeard with his theory of appearance in Logics of Worlds. There the rebellious Ariadne’s matrix of relationships with Bluebeard’s willingly-imprisoned wives constitutes an “absolutely heterogenous feminine ground” exterior to the “new feminine world” that her eventual escape opens up. How can the ground of appearance be absolutely heterogenous yet still feminine, recognizably the world of Woman? Badiou uses category theory to argue that a being’s appearance is only possible between a minimum—Alladine, who stays—and a maximum—Ariadne, who leaves. This paper takes up his theories of change and appearance as a vital, if problematic, avenue for thinking gender and sex transition as a properly ontological event.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43032191","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}
Abstract:This essay approaches the question of Women in Theory by considering the infrastructural work of writing (including citational practices and uses of metaphor) and how one might write about infrastructure and undervalued functions such as carrying and containing. Zoë Sofia’s essay “Container Technologies” (2000) is a central reference point: at issue is also the gendering of metaphors and how they bear or carry certain figurations of the feminine.
{"title":"Carrying, Containment, Supply","authors":"A. Johnson","doi":"10.1353/dia.2021.0013","DOIUrl":"https://doi.org/10.1353/dia.2021.0013","url":null,"abstract":"Abstract:This essay approaches the question of Women in Theory by considering the infrastructural work of writing (including citational practices and uses of metaphor) and how one might write about infrastructure and undervalued functions such as carrying and containing. Zoë Sofia’s essay “Container Technologies” (2000) is a central reference point: at issue is also the gendering of metaphors and how they bear or carry certain figurations of the feminine.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47920768","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}
Abstract:Writing about Cathy Caruth’s work allows me to write about my current project on “grammars of listening,” which has not only developed in conversation with her work but has also become a powerful way for me to address, among other things, the question that gathers together this special issue on Women in Theory—a question closely related to issues of epistemic injustice and silencing (Kristie Dotson), of coloniality and the extent to which its effects are still operative today (María Lugones), and to the erasures and practices of un-knowing (Mariana Ortega) that have been deployed against the possibility of embodying what it means to be a “woman”—and more specifically a “woman of color”—in philosophy.None of these questions can be truly addressed without first radically questioning the frameworks of meaning that determine in advance what does and does not deserve to become audible. A subversion and a decolonization of the regime of audibility—one that forces us to listen to what is otherwise constantly rendered unheard and unheard-of—is the only way to begin seriously taking up the question of what it would mean to embody, from a theoretical perspective, the category—historically imposed, philosophically problematized, and in urgent need of decolonization—of “woman.”
{"title":"Grammars of Addressing: On Memory and History in Cathy Caruth’s Work","authors":"María del Rosario Acosta López","doi":"10.1353/dia.2021.0009","DOIUrl":"https://doi.org/10.1353/dia.2021.0009","url":null,"abstract":"Abstract:Writing about Cathy Caruth’s work allows me to write about my current project on “grammars of listening,” which has not only developed in conversation with her work but has also become a powerful way for me to address, among other things, the question that gathers together this special issue on Women in Theory—a question closely related to issues of epistemic injustice and silencing (Kristie Dotson), of coloniality and the extent to which its effects are still operative today (María Lugones), and to the erasures and practices of un-knowing (Mariana Ortega) that have been deployed against the possibility of embodying what it means to be a “woman”—and more specifically a “woman of color”—in philosophy.None of these questions can be truly addressed without first radically questioning the frameworks of meaning that determine in advance what does and does not deserve to become audible. A subversion and a decolonization of the regime of audibility—one that forces us to listen to what is otherwise constantly rendered unheard and unheard-of—is the only way to begin seriously taking up the question of what it would mean to embody, from a theoretical perspective, the category—historically imposed, philosophically problematized, and in urgent need of decolonization—of “woman.”","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47488555","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}
Abstract:This essay examines some of the multiple resonances of the word generation, with an emphasis on the relationship between intellectual and aesthetic production and the figure of maternity. Beginning with Jacques Derrida’s critique of generation as an origin that grounds self-presence, which he associates with forms of violence from matricide to genocide, it considers the possibility of a ventriloquial mode of generation, through which others—including the differential flow of survival—speak, and which we are compelled to bear. Claudia Rankine’s Plot, a poetic exploration of the relationship between aesthetic production and pregnancy, is read as an exemplary instance of such ventriloquial survival.
{"title":"Generation","authors":"Kate Jenckes","doi":"10.1353/dia.2021.0017","DOIUrl":"https://doi.org/10.1353/dia.2021.0017","url":null,"abstract":"Abstract:This essay examines some of the multiple resonances of the word generation, with an emphasis on the relationship between intellectual and aesthetic production and the figure of maternity. Beginning with Jacques Derrida’s critique of generation as an origin that grounds self-presence, which he associates with forms of violence from matricide to genocide, it considers the possibility of a ventriloquial mode of generation, through which others—including the differential flow of survival—speak, and which we are compelled to bear. Claudia Rankine’s Plot, a poetic exploration of the relationship between aesthetic production and pregnancy, is read as an exemplary instance of such ventriloquial survival.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48117185","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}
Abstract:After a discussion of how Jacques Derrida’s Of Grammatology and Specters of Marx illustrate two inverse ways in which the figure of China has been marginalized within Western critical theory, this essay considers a contemporary counter-discourse developed by Asia-based theorists who use an approach dubbed “China/Asia as method” to critique the universalizing assumptions found in Western theory. Beginning with Takeuchi Yoshimi’s 1960 article “Asia as Method,” I suggest that this approach effectively turns the tables not only on a Eurocentric intellectual tradition itself, but also on concomitant attempts to use China/Asia as a space of radical alterity from which to critique the presumptive universality of Eurocentric discourses. I consider two recent analyses that draw (either explicitly or implicitly) on the “China/Asia as method” approach and apply it to contemporary debates over LGBTQ rights in Sinophone East Asia. Finally, I use a set of spectral resonances in the two Asian LGBTQ case studies to return to Derrida’s allusions to China and “table-turning” séances, but with a twist.
{"title":"Turning the Tables: Derrida, China, and the Asia Turn","authors":"C. Rojas","doi":"10.1353/dia.2021.0004","DOIUrl":"https://doi.org/10.1353/dia.2021.0004","url":null,"abstract":"Abstract:After a discussion of how Jacques Derrida’s Of Grammatology and Specters of Marx illustrate two inverse ways in which the figure of China has been marginalized within Western critical theory, this essay considers a contemporary counter-discourse developed by Asia-based theorists who use an approach dubbed “China/Asia as method” to critique the universalizing assumptions found in Western theory. Beginning with Takeuchi Yoshimi’s 1960 article “Asia as Method,” I suggest that this approach effectively turns the tables not only on a Eurocentric intellectual tradition itself, but also on concomitant attempts to use China/Asia as a space of radical alterity from which to critique the presumptive universality of Eurocentric discourses. I consider two recent analyses that draw (either explicitly or implicitly) on the “China/Asia as method” approach and apply it to contemporary debates over LGBTQ rights in Sinophone East Asia. Finally, I use a set of spectral resonances in the two Asian LGBTQ case studies to return to Derrida’s allusions to China and “table-turning” séances, but with a twist.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42026749","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}
Abstract:“Crowdsourced,” frequently recycled, made in large quantity, and easily transmittable across analog and digital borders, Ai’s art and activism mark the turn(s) of global contemporary art toward the remixing, the participatory, the media-savvy, and the socially engaged—turns that were gathering strength for more than a century but began to coalesce into powerful discourses in the 1990s.
{"title":"A Turn to the Many: Ai Weiwei","authors":"Chang Tan, Ai Weiwei","doi":"10.1353/dia.2021.0007","DOIUrl":"https://doi.org/10.1353/dia.2021.0007","url":null,"abstract":"Abstract:“Crowdsourced,” frequently recycled, made in large quantity, and easily transmittable across analog and digital borders, Ai’s art and activism mark the turn(s) of global contemporary art toward the remixing, the participatory, the media-savvy, and the socially engaged—turns that were gathering strength for more than a century but began to coalesce into powerful discourses in the 1990s.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45189904","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}
Abstract:What movement is a “turn”? After all, as some of the theoretical work discussed in The Turn I and The Turn II shows, turning itself is multiple. Is a turn eventfully singular or recurring? Does it mark a rupture or a return, a turn away or a turn toward? The turn comes in a multiplicity of different figures—revolutionary upheaval, Möbian tautology, fold and unfolding. What does this mean for thinking the different modalities of the turn, not only the shape it takes or the movement it traces, but also its scale, (in)frequency, and number? Is the “turn” we envision one or many? Micro or macro? And what do we make of the paradox that much of our theoretical desires dream of the molar, eventful, cutting-edge, revolutionary, innovative energy of the “turn” when we invoke theoretical innovation while much of our thought is otherwise celebratory of minor figures, of microfolds, multiply pleated surfaces, hosts of warps and whorls, or dynamic constellations of gyrations and turnings?
{"title":"Yet Another One. . .","authors":"Andrea Bachner","doi":"10.1353/dia.2021.0000","DOIUrl":"https://doi.org/10.1353/dia.2021.0000","url":null,"abstract":"Abstract:What movement is a “turn”? After all, as some of the theoretical work discussed in The Turn I and The Turn II shows, turning itself is multiple. Is a turn eventfully singular or recurring? Does it mark a rupture or a return, a turn away or a turn toward? The turn comes in a multiplicity of different figures—revolutionary upheaval, Möbian tautology, fold and unfolding. What does this mean for thinking the different modalities of the turn, not only the shape it takes or the movement it traces, but also its scale, (in)frequency, and number? Is the “turn” we envision one or many? Micro or macro? And what do we make of the paradox that much of our theoretical desires dream of the molar, eventful, cutting-edge, revolutionary, innovative energy of the “turn” when we invoke theoretical innovation while much of our thought is otherwise celebratory of minor figures, of microfolds, multiply pleated surfaces, hosts of warps and whorls, or dynamic constellations of gyrations and turnings?","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44748402","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}
Abstract:The “gender turn” in feminist thought describes the 1980s shift from a focus on women within male-dominated systems of power to poststructural theories of subject formation. But how did gender become available for feminist thought in the first place? Following recent work that emphasizes the assembled nature of feminist genealogies (Hemmings 2011; Wiegman 2012), this essay treats gender as a cultural object in order to trace its entry into feminism. An origin of gender as a category of person well known to transgender studies lies in the psychomedical treatment of intersex and transgender patients in mid-century American clinics. Yet by tracking the term, we also find a plurality of uses of gender that influenced feminist discourse, including the (technically mistaken) substitution of gender for sex. Radical intellectuals exploring vocabularies for anti-essentialist and anti-racist thought already experimented with gender before the gender turn.
{"title":"Gender Before the Gender Turn","authors":"A. Wilson","doi":"10.1353/dia.2021.0001","DOIUrl":"https://doi.org/10.1353/dia.2021.0001","url":null,"abstract":"Abstract:The “gender turn” in feminist thought describes the 1980s shift from a focus on women within male-dominated systems of power to poststructural theories of subject formation. But how did gender become available for feminist thought in the first place? Following recent work that emphasizes the assembled nature of feminist genealogies (Hemmings 2011; Wiegman 2012), this essay treats gender as a cultural object in order to trace its entry into feminism. An origin of gender as a category of person well known to transgender studies lies in the psychomedical treatment of intersex and transgender patients in mid-century American clinics. Yet by tracking the term, we also find a plurality of uses of gender that influenced feminist discourse, including the (technically mistaken) substitution of gender for sex. Radical intellectuals exploring vocabularies for anti-essentialist and anti-racist thought already experimented with gender before the gender turn.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42370308","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}
Abstract:There is currently considerable interest, across a variety of different fields, in the quality of plasticity. The philosopher Catherine Malabou, for instance, identifies plasticity as “the motor scheme of our time,” and has applied the concept to fields ranging from continental philosophy to neuroscience to literature. In this essay, I propose a plastic turn that emphasizes not the formal quality of plasticity, as do Malabou and others, but rather a plastic turn that takes inspiration from the materiality of plastic itself—what I call the material-aesthetic. Plastic speaks as a material, in its material formations, in modes of structuration, and in metaphoric figurality that imports “excess signification” into our aesthetic understanding and critical thinking. Explaining briefly what I mean by material-aesthetic, I propose to construct the plastic turn around two points of connection: first, through what I call the “in-laboratory” event that foregrounds the distinctness of polymeric forms and the manifestations that additives bring to plastic’s behavior, and second, the “outside-laboratory” event where plastic becomes an increasingly ubiquitous contaminant within the global ecosystem and develops its own ways and character traits. My argument considers the growth and formation (substance-variety through multiple applications and chemical synthesis) and dissemination (oceanic movements and sea-land drifts and percolations) of plastic in the context of corresponding developments in literature and critical thought beginning with the turn of the twentieth century. In its molecularity, polymericity and molarity, plastic points to a turn in twentieth-century thinking across disciplines and discourses. It is the material-aesthetic as the operative theory-machine.
{"title":"The Plastic Turn","authors":"R. Ghosh","doi":"10.1353/dia.2021.0003","DOIUrl":"https://doi.org/10.1353/dia.2021.0003","url":null,"abstract":"Abstract:There is currently considerable interest, across a variety of different fields, in the quality of plasticity. The philosopher Catherine Malabou, for instance, identifies plasticity as “the motor scheme of our time,” and has applied the concept to fields ranging from continental philosophy to neuroscience to literature. In this essay, I propose a plastic turn that emphasizes not the formal quality of plasticity, as do Malabou and others, but rather a plastic turn that takes inspiration from the materiality of plastic itself—what I call the material-aesthetic. Plastic speaks as a material, in its material formations, in modes of structuration, and in metaphoric figurality that imports “excess signification” into our aesthetic understanding and critical thinking. Explaining briefly what I mean by material-aesthetic, I propose to construct the plastic turn around two points of connection: first, through what I call the “in-laboratory” event that foregrounds the distinctness of polymeric forms and the manifestations that additives bring to plastic’s behavior, and second, the “outside-laboratory” event where plastic becomes an increasingly ubiquitous contaminant within the global ecosystem and develops its own ways and character traits. My argument considers the growth and formation (substance-variety through multiple applications and chemical synthesis) and dissemination (oceanic movements and sea-land drifts and percolations) of plastic in the context of corresponding developments in literature and critical thought beginning with the turn of the twentieth century. In its molecularity, polymericity and molarity, plastic points to a turn in twentieth-century thinking across disciplines and discourses. It is the material-aesthetic as the operative theory-machine.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44776322","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}
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