The real Oaxaca decomposition: convergence within Mexico’s Oaxaca region in the twenty-first century—Do types of crime and religious belief matter?

2019 ◽  
Vol 53 (4) ◽  
pp. 543-569
Author(s):  
Gregory Brock
Keyword(s):  
Religious Belief ◽  
First Century ◽  
Oaxaca Decomposition ◽  
The Real ◽  
Twenty First Century

Black Diasporic Gothic

2019 ◽  
pp. 289-303
Author(s):  
Maisha Wester
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
African Diaspora ◽  
Black Writers ◽  
Knowledge Systems ◽  
First Century ◽  
The Real ◽  
Twenty First Century

Black Diasporic Gothic can trace its origins back to the nineteenth century at the height of the Gothic’s appearance, when many black writers began to appropriate the genre to describe the real horrors of existence within racially oppressive and enslaving societies. However, many twenty-first-century Black Gothic texts suggest that modifying traditional Gothic monsters is not enough to create subversive work.Rather modern texts such as Jeremy Love’s Baypu (2009-10), Helen Oyeyimi’sWhite is for Witching (2009) and Jordan Peele’s Get Out (2017) force Western readers out of their region and tradition entirely by introducing monsters from the African Diaspora, creatures recording the horror of physical and cultural theft even as they demand recognition of a pre-encounter cultural history. In each text, marginalised characters are able to recognise, define and combat monstrous assailants primarily because they exist outside of dominant ideological systems. Thus twenty-first century Black Gothic texts posit the existence of radically alternative, and ultimately liberating, knowledge systems within marginalised locations.

Marry Me?

Love, Inc. ◽  
2019 ◽  
pp. 83-112
Author(s):  
Laurie Essig
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
First Century ◽  
Financial Resources ◽  
The Real ◽  
Early Twentieth Century ◽  
Real Change ◽  
History Of ◽  
Twenty First Century ◽  
Diamond Ring

Getting engaged now requires more emotional and financial resources than ever before. Here Essig traces the history of engagements from the birth of companionate marriages in the nineteenth century to the invention of rituals like the bended knee and fetish items like the diamond ring in the early twentieth century. But the real change happened at the beginning of the twenty-first century, as engagements became “spectacular,” requiring not just highly staged events but also highly produced videos and images that could then be disseminated to the larger world.

The Performance of Identity

2019 ◽  
pp. 108-117
Author(s):  
Nate Sloan ◽  
Charlie Harding ◽  
Iris Gottlieb
Keyword(s):  
Multiple Identities ◽  
First Century ◽  
Public Image ◽  
Western Music ◽  
Self Awareness ◽  
The Real ◽  
Twenty First Century

No one knew what to make of Britney Spears at the turn of the twenty-first century, perhaps because she performed so many conflicting identities: innocence and maturity, purity and dissolution, naiveté and self-awareness. While her public image has dominated this narrative, decidedly less attention has been paid to how Spears expresses multiple identities through her music. In “Oops! . . . I Did it Again,” discussed in Chapter 11, she creates contradictory personae by exploiting an ancient feature of Western music: counterpoint, which lets an audience hear two independent melodies at the same time. Though the two melodies make beautiful music together, neither represents the “real” melody—just as audiences could never know the “real” Britney Spears.

scholarly journals Soft Skills and Positive Attitude : Science of Bridging Gap

2019 ◽  
Vol 9 (2) ◽  
pp. 1301-1304
Keyword(s):  
Positive Attitude ◽  
Soft Skills ◽  
Real Life ◽  
Negative Attitude ◽  
First Century ◽  
Job Placement ◽  
The Real ◽  
Hard Skills ◽  
Twenty First Century ◽  
Twenty First Century Skills

Soft skills are those essential traits and expertise that must be acquired by every person to be successful in life. These abilities, traits or skills are also most popularly called people’s skills and in recent times, also known as twenty first century skills. It is proven that the hard skills or the academic or professional qualifications maybe an inevitable component of any kind of employment or job placement but the success of a person depends upon the soft skills he has. Research has shown that attitude of the pupils and development or enhancement of these skills is correlated. The attitude is different in each individual and therefore the real life application of these skills is also varied. The study undertaken endeavours to find out the correlation between the positive attitude and negative attitude of the students towards soft skills and the real life application of it.

scholarly journals Capitalist realism: Glimmers, working-class authenticity and Andrea Dunbar in the twenty-first century

2020 ◽  
Vol 16 (1) ◽  
pp. 75-89
Author(s):  
Katie Beswick
Keyword(s):  
Working Class ◽  
Reality Television ◽  
Soap Opera ◽  
First Century ◽  
Social Realism ◽  
Cultural Products ◽  
The Real ◽  
Political Project ◽  
Marketing Materials ◽  
Twenty First Century

This article thinks through how registers of ‘the real’ have operated in working-class representations, from social realism (in film, theatre, drama and soap opera) to reality television and appeals to ‘authenticity’ in publicity and marketing materials for cultural products purporting to represent the working class. It argues that the ubiquity of ‘the real’ in representations of working-class experience is one way in which Fisher’s ‘capitalist realism’ asserts itself. The article argues that experiments with form and intertextuality can offer ‘glimmers’ through which slippages in claims to absolute reality are revealed. It explores the possibility for such ‘glimmers’ in experimentations with Andrea Dunbar’s work in the twenty-first century, reasserting the importance of form in dismantling the neo-liberal political project.

Great Poets Do Not Die: Maggie Gee’s Virginia Woolf in Manhattan (2014) As Metaphor For Contemporary Biofiction

2020 ◽  
pp. 399-411
Author(s):  
Bethany Layne
Keyword(s):  
New York ◽  
Recent Work ◽  
Virginia Woolf ◽  
Ethical Issues ◽  
Real Life ◽  
First Century ◽  
Keynote Address ◽  
The Real ◽  
Michael Cunningham ◽  
Twenty First Century

This chapter takes as its subject Maggie Gee’s novel Virginia Woolf in Manhattan (2014), which imagines what might transpire if Woolf were to be resurrected in twenty-first-century New York. She is conjured by the fictitious novelist Angela Lamb, who is visiting the Berg Collection in preparation for a keynote address at an international Woolf conference. As a contemporary novelist who recalls her subject to life, lends her clothing and helps her to sign her name, Angela is symbolic of the real-life novelists who recreated Woolf in their own image and reinterpreted her works in line with their respective versions. The chapter thus contends that Gee’s recent manifestation of Woolf-inspired biofiction may be read successfully as an extended metaphor for the twenty-year-old subgenre. This originated with Sigrid Nunez (1998) and Michael Cunningham (1998) and extends to recent work by Priya Parmar (2014) and Norah Vincent (2015). The chapter first examines issues of content, focusing on Gee’s presentation of Woolf’s suicide and sexuality. The discussion is then expanded to think critically about Woolf-inspired biofiction as a subgenre, particularly the ethical issues attendant on its invasion of the subject’s privacy.

‘Panoramas’ and ‘Living Pictures’: Dr Barnardo’s Annual Meetings

2016 ◽  
pp. 213-236
Author(s):  
Susan Ash
Keyword(s):  
Nineteenth Century ◽  
Social Change ◽  
Social Welfare ◽  
Close Relation ◽  
First Century ◽  
Annual General ◽  
The Real ◽  
High Profile ◽  
Welfare Work ◽  
Twenty First Century

This chapter analyses how Barnardo created spectacle from the massed exhibition of child bodies in the annual general meetings and fêtes held in Barnardo’s homes and in high-profile public venues such as the Royal Albert Hall. It focuses on spectacle as integral to the philanthropic agenda, such as scale, the boundaries between the real and performed, and the capacity to ‘move’ an audience in a context of amplified emotionality. Barnardo used spectacle to create capital and to represent social change to his supporters. The close relation of spectacle with disaster is crucial; the orchestrated spectacles conveyed both the underlying potential for, and the spectator’s vulnerability to, unleashed catastrophe should they choose not to contribute. Although Barnardo repudiated theatre and associated performance, he nevertheless devised spectacles that presented his brand in highly positive terms as another form of coherent narrative about child reform in the nineteenth century, and the organization’s social welfare work into the twenty-first century.

The Un-real Deal: Financial Fiction, Fictional Finance, and the Financial Crisis

2015 ◽  
Vol 49 (4) ◽  
pp. 731-753 ◽  
Author(s):  
LAURA FINCH
Keyword(s):  
First Century ◽  
Real Economy ◽  
Credit Crisis ◽  
The Real ◽  
Dynamic Interface ◽  
Black Scholes ◽  
Twenty First Century ◽  
Financial Events ◽  
Oil Crisis ◽  
Generic Strategies

The credit crisis of 2007–8 prompted a Manichean discourse that labeled finance the flighty and unreal other of the solidity of the real economy. Almost overnight the “speculative finance” shifted from a descriptive term to an evaluative one, with freewheeling finance singled out as the main cause of the crisis. The fictionality of finance is, of course, a fiction itself. Not only is finance a part of the real economy but since the 1970s it has played an increasingly significant part in it. This essay aligns with recent work in critical finance studies that puts pressure on the idea that finance can be separated from the real economy. Supplementing the world-historical scale at which this work often remains, this essay theorizes the real abstraction of finance through its lived social experience. The year 1973 was replete with financial events: the end of the Bretton Woods agreement and the gold standard, the Middle East oil crisis, the creation of the Chicago options exchange, and the invention of the Black–Scholes equation governing derivatives. It also saw the birth of the financial thriller with Paul Erdman’sThe Billion Dollar Sure Thing. Seizing upon a formulaic genre and opening it up to a flood of real events from the trading floor, the financial thriller acts as a dynamic interface and sensitive seismograph for theorizing the fictionality of finance. This essay opens with a reading of Bret Easton Ellis’sAmerican Psycho(1991) as an example of a work that renders real abstraction in an explicitly social way. Rather than viewing the novel as a hyperbolically postmodern reflection of abstract financial maneuvers, I argue that it is thickly embedded within the historically specific financial cityscape of 1980s Manhattan. I then turn to a comparative reading of recent financial thrillers written in response to the twenty-first-century credit collapse. Unlike Ellis’s novel, these thrillers strive to keep the unreality of finance segregated from the real economy at the level of plot, while also making use of generic strategies to do so at the level of form, pushing financial data into footnotes, descriptive asides, and a different tonal register of narrative. By reading these thrillers alongsideAmerican Psycho, a book written before the shock of terminal economic crisis, I offer a more historically nuanced reading of their attempts to salvage a workable economy out of the mess of the twenty-first-century American economy.

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