000			03906cam a22005298i 4500
001			on1060181471
003			OCoLC
005			20240726105122.0
008			181024s2019 nyu ob 001 0 eng
010			_a2018051325
040			_aDLC _beng _erda _cDLC _dOCLCO _dOCLCF _dNT _dEBLCP _dJSTOR
020			_a9780231547260 _q((electronic)l(electronic)ctronic)
041	1		_aeng _hfre
042			_apcc
050	1	0	_aHV6963 _b.V534 2019
049			_aMAIN
100	1		_aKalifa, Dominique, _e1
245	1	0	_aVice, crime and poverty : _bhow the Western imagination invented the underworld / _cDominique Kalifa ; translated by Susan Emanuel.
260			_aNew York : _bColumbia University Press, _c(c)2019.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	0		_aEuropean perspectives
520	0		_a"Prostitutes, criminals, and the sordid, dangerous places they inhabit have always been with us. Yet there has not always been an "underworld," or what the French call "les bas-fonds." This expression, which appeared in most western languages in the 19th century, reveals a new way of looking at these social ills and raises a key historical question: why did the century that gave us positivism, industry, democratization, and mass culture name--and thus reframe--its view of its social margins? This book explores this imaginary. It shows how the underworld came into being in the shattered Europe of the 19th century, born of a tradition in which biblical symbols-Sodom, Gomorrah, Babylon-intermingled with the "bad poor" of Christian lore and images of modern roguery like the Cour des Miracles. It decodes the construction of a worldview that has never ceased to fascinate us. For while it connotes things that are real-poverty, crime, and transgressions of all sorts-the "underworld" also constitutes an imaginary that expresses our fears, our anxieties, our desires. In representing the nether regions of our society-its "accursed share" so to speak-it also provides a route of symbolic and social escape. Although many of its components still exist or have been readapted to new contexts, the specific combination that arose in connection with the 19th century underworld gradually faded away in the 20th century. The welfare states established in the wake of the Second World War left very little room for it. And yet, while the contexts have changed, both the debates on issues related to the "underclass" and the images in contemporary cinema and steampunk culture reveal that the shadow of the underworld still lurks all around us"-- _cProvided by publisher.
500			_aTranslation of: Bas-fonds.
504			_a2
505	0	0	_aIn the den of horror -- _tCourts of miracles -- _t"Dangerous classes" -- _tEmpire of lists -- _tThe disguised prince -- _tThe grand dukes' tour -- _tPoetic flight -- _tEbbing of an imaginary -- _tSlow eclipse of the underworld -- _tPersistent shadows -- _tRoots of fascination.
530			_a2 _ub
650		0	_aUrban poor _xHistory.
650		0	_aMarginality, Social.
650		0	_aMarginality, Social, in literature.
650		0	_aCriminals _xHistory.
650		0	_aCriminals in literature.
650		0	_aInner cities _xHistory.
650		0	_aCrime _xHistory.
650		0	_aInner cities in literature.
650		0	_aSocial representations.
650		0	_aDeviant behavior in literature.
655		1	_aElectronic Books.
700	1		_aEmanuel, Susan, _etrl
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2087953&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hHV _m2019 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c89633 _d89633
902			_a1 _bCynthia Snell _c1 _dCynthia Snell