Looking Down the Road into the Twenty-First Century

2010 ◽  
pp. 223-256
Keyword(s):  
First Century ◽  
The Road ◽  
Twenty First Century

Self-Publishing

2020 ◽  
pp. 327-341
Author(s):  
Jeffrey R. Di Leo
Keyword(s):  
Cultural Capital ◽  
Electronic Devices ◽  
First Century ◽  
The Internet ◽  
Discussion Forums ◽  
The Road ◽  
Twenty First Century ◽  
Traditional Print ◽  
Print Format

In the twenty-first century, the barriers to authorship are lower than ever. Whether on blogs or on communal discussion forums, Facebook ‘walls’, or Twitter threads, anyone with access to the internet can fancy him or herself an author. The road to genuine cultural capital, however, still passes through the book, whether in its traditional print format or in the guise of ebooks consumed on Kindles, Nooks, and other electronic devices. Here too, though, a publishing revolution is underway. Thanks to services such as CreateSpace or iUniverse, it is cheaper than ever to self-publish a book, and, thanks to Amazon, it is easier to disseminate one. In this chapter, Jeffrey Di Leo shows how the results of this development are dramatic, both in a numeric sense and in a qualitative one.

Australian Masculinity on the Road

2000 ◽  
Vol 95 (1) ◽  
pp. 227-236
Author(s):  
Philip Butterss
Keyword(s):  
First Century ◽  
The Road ◽  
True Love ◽  
New Form ◽  
Twenty First Century ◽  
On The Road ◽  
Ways Of Being

In an Australia where the old images of masculinity are no longer serviceable, the road provides an ideal site for films wishing to explore ways of being a man at the dawn of the twenty-first century. The Adventures of Priscilla, Queen of the Desert, True Love and Chaos, Doing Time for Patsy Cline and Kiss or Kill critique or destabilise traditional models of masculinity, and use the road as a space where masculinity is free to change. However, as Pamela Robertson (1997: 271) has pointed out, the road movie is ‘a genre obsessed with home’. The closure of all four films involves establishing a new form of home, and in doing so demonstrates how difficult it is to reintegrate credibly the changes experienced on the road into a domestic unit that is fulfilling for all its members.

“The road to Golgotha”

Focaal ◽  
2008 ◽  
Vol 2008 (52) ◽  
pp. 92-108
Author(s):  
Tsypylma Darieva
Keyword(s):  
State Policy ◽  
First Century ◽  
Armenian Genocide ◽  
Specific Process ◽  
New Politics ◽  
The Road ◽  
Memorial Landscape ◽  
Twenty First Century

Following the story of a public memorial, I discuss the change in the scale of the remembrance of loss among post-Soviet Armenians in Yerevan. The shift from forgotten to visible Armenian loss started in the mid-1960s with protest from below during Khrushchev's political thaw and culminated at the beginning of the twenty-first century in an institutionalized state policy of commemoration. I discuss the ways in which a new memorial landscape of loss is represented and how a new cult of death is intensified by the redesigning and visualization of a traumatic past. I highlight a specific process of sacralization related to the new politics of unrecognized, 'bad' death, in the language of Christian suffering. Finally I turn to the ways Armenians voice the forgotten loss in terms of a global morality by involving outside forces—new “protective ancestors”—in the sacred repertoire of the nation. To illustrate this change, I concentrate on the area surrounding the memorial for the Armenian Genocide on the Tsitsernakaberd hill in Yerevan.

Antinomies of the Twenty-First-Century Neobaroque: Cormac McCarthy and Demian Schopf

2018 ◽  
pp. 148-184
Author(s):  
Monika Kaup
Keyword(s):  
New World ◽  
Cormac Mccarthy ◽  
First Century ◽  
The Other ◽  
The Road ◽  
Robert Burton ◽  
Twenty First Century ◽  
Thomas Browne

Cormac McCarthy’s novel The Road (2006) and Chilean artist Demian Schopf’s photographic exhibits embody the Baroque’s notorious contradictory nature: the baroque is at once joyful and sad. One wing of baroque expression, with historical roots in the Catholic religious baroque, is closely associated with the melancholic contemplation of ruin, death, and catastrophe. At the other end of the spectrum, there is the Deleuzian principle of becoming-minor, the program of the rebellious consumption of tradition and of re-creating existing forms. In The Road, McCarthy memorializes post-apocalyptic ruin in a grand baroque style reminiscent of Robert Burton and Sir Thomas Browne. Conversely, Schopf’s portraits of harquebus-brandishing angels and Andean dancers in colorful costumes embodying Christian and pagan figures recover the Andean mestizo baroque, one of the major expressions of the transculturating New World baroque. McCarty’s post-apocalyptic baroque meditates on death, extinction and finitude; Schopf’s joyful baroque celebrates the creativity of culture and its evolution toward greater diversity.

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