scholarly journals Carl Schmitt's Fear: Nomos – Norm – Network

2010 ◽  
Vol 23 (4) ◽  
pp. 741-757 ◽  
Author(s):  
INO AUGSBERG
Keyword(s):  
Twentieth Century ◽  
Legal System ◽  
Legal Discourse ◽  
First Century ◽  
The Other ◽  
Carl Schmitt ◽  
Legal Problems ◽  
Twenty First Century ◽  
The One

AbstractCarl Schmitt is still astonishingly present in the legal discourse. Yet instead of indulging in the study of his explicit ‘lesson’ and its possible impact on contemporary legal problems, it might be worthwhile to survey the primary cause of his greatest fear. Following this perspective, the article analyses Schmitt's concept of the nomos, distinguishing it from the traditional normativist approach on the one hand and confronting it with a more recent understanding of law in terms of the network conception on the other. Thus Schmitt's view of the developing legal system in the twentieth century proves to be relevant to our current efforts to grasp newly emerging legal phenomena in the twenty-first century.

Empire after Liberalism: The Transatlantic Right and Identitarian War

2021 ◽  
pp. 1-26
Author(s):  
CHRISTOPHER VIALS
Keyword(s):  
Human Rights ◽  
American Studies ◽  
White Male ◽  
First Century ◽  
The Other ◽  
Graphic Novel ◽  
Carl Schmitt ◽  
Source Text ◽  
Far Right ◽  
The One

American studies has developed excellent critiques of post-1945 imperial modes that are grounded in human rights and Enlightenment liberalism. But to fully gauge US violence in the twenty-first century, we also need to more closely consider antiliberal cultural logics. This essay traces an emergent mode of white nationalist militarism that it calls Identitarian war. It consists, on the one hand, of a formal ideology informed by Identitarian ethno-pluralism and Carl Schmitt, and, on the other, an openly violent white male “structure of feeling” embodied by the film and graphic novel 300, a key source text for the transatlantic far right.

scholarly journals DANTES LITTERÆRE ATMOSFÆROLOGI

1970 ◽  
Vol 41 (116) ◽  
pp. 33-48
Author(s):  
Dennis Meyhoff Brink
Keyword(s):  
Divine Comedy ◽  
First Century ◽  
The Other ◽  
Other Hand ◽  
Peter Sloterdijk ◽  
Twenty First Century ◽  
The One ◽  
Atmospheric Phenomena ◽  
Lauren Berlant

DANTE’S LITERARY ATMOSPHEROLOGY | The article argues that recent theories on affect and atmosphere by, for instance, Teresa Brennan, Lauren Berlant, and Peter Sloterdijk, can enter into an extraordinarily fruitful interchange with Dante’s Divine Comedy. On the one hand, these theories can direct our attention to the hitherto overlooked atmospheric phenomena that occur ubiquitously in Dante’s Comedy and provide us with concepts that render them legible as products of human emissions. On the other hand, the numerous descriptions of different atmospheres in Dante’s Comedy can contribute to overcoming the lack of linguistic specifications and distinctions which – according to theorists such as Brian Massumi and Peter Sloterdijk – characterizes today’s Western understanding of affective atmospheres and impedes its ongoing theorization. Based on readings of a selected number of atmospheres in Dante’s Comedy, the article argues that the Comedy not only anticipated insights that were not articulated theoretically until the twentieth and twenty-first century, butalso makes up an exceptional encyclopedia of affective atmospheres that have not yet been examined, neither by Dante researchers, nor by theorists of affects and atmospheres. Therefore, both camps have much to learn from Dante’s literary atmospherology, which the article aims to make explicit.

Pentecostal and Charismatic

2019 ◽  
Author(s):  
Telford Work
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
The Other ◽  
World Council Of Churches ◽  
Ecumenical Movement ◽  
The World ◽  
World Council ◽  
Twenty First Century ◽  
Charismatic Christianity

Accounts of Pentecostal ecumenism tend to take two basic shapes. In one, the story of Pentecostal and charismatic ecumenism is subsumed into the wider course of twentieth-century ecumenism, whose centre has been the World Council of Churches. The other regards Pentecostal and charismatic Christianity as an ecumenical movement in its own right, expressed in innumerable informal relationships and recently embodied in the Global Christian Forum. These two popular visions often keep Pentecostals, charismatics, and mainstream ecumenists talking past one another. An inventory of the gifts offered, gifts received, and gifts withheld or rejected among these parties in twentieth- and twenty-first-century ecumenism leads to a different interpretation of their interrelationship. The ecumenical movement at large and Pentecostal and charismatic Christianity itself are both among the renewing tides in Christ’s ecclesial ecumene. The most significant Pentecostal/charismatic contribution to ecumenism may be its own spirit, and vice versa.

Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool

2020 ◽  
Vol 7 (1) ◽  
pp. 114-120
Author(s):  
Dmitry Bulgakovsky ◽  
Nick Mayhew
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
First Century ◽  
The Other ◽  
Russian Orthodox ◽  
Holy Fool ◽  
Gender Transformation ◽  
Twenty First Century ◽  
The One

Abstract Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool is a hagiography written by Russian Orthodox priest and publicist Dmitry Bulgakovsy (1843–ca. 1918). Published in Russia in 1890, it is one of the first full accounts of the life of a saint variably referred to by two names: one feminine, Xenia, and the other masculine, Andrey. The saint ostensibly lived in St. Petersburg in the eighteenth century. Identified female at birth and named Xenia, after the death of their husband Andrey, at the age of twenty-six the saint took on the identity of their deceased husband. The saint is popular in Russia today, and stories about their life are disseminated widely. Although they were canonized in 1988 as St. Xenia and are now venerated as a holy woman, accounts of their life always include the story of their gender transformation. In twenty-first-century narratives, this episode tends to be glossed over briefly as proof of the saint's extraordinary love for their husband, serving to embellish their role as a devoted wife. However, in the original nineteenth-century stories of the saint's life—such as the one translated below—there is greater ambiguity in the depiction of their gender.

The Standard of Taste Debate

Food Fights ◽  
2019 ◽  
pp. 100-123
Author(s):  
Charles C. Ludington
Keyword(s):  
Eighteenth Century ◽  
First Century ◽  
The Other ◽  
Tribal Identity ◽  
Political Beliefs ◽  
Other Hand ◽  
Class Status ◽  
Twenty First Century ◽  
Standard Of Taste ◽  
The One

On the one hand people like to say that “there is no accounting for taste.” On the other hand, people constantly make judgments about their own and other people’s taste (gustatory and aesthetic). Charles Ludington examines the taste for wine in eighteenth-century England and Scotland, and the taste for beer in twenty-first century America, to argue that taste can in fact be accounted for because it is a reflection of custom, “tribal” identity, gender, political beliefs, and conceptions of authenticity, which are mostly but not entirely conditioned by class status and aspirations. And rightly or wrongly, we judge other people’s taste because taste positions us in society.

From Propagandistic Exploitation to Post-Communist Sensationalism: Beethoven Reception in Twentieth- and Twenty-First-Century Romania

2021 ◽  
Vol 61 (1-2) ◽  
pp. 113-128
Author(s):  
Florinela Popa
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
First Century ◽  
The Other ◽  
Political Regimes ◽  
World War ◽  
Adolf Hitler ◽  
Twenty First Century ◽  
The Way

This paper mainly investigates the way Beethoven’s image was turned, during the totalitarian political regimes of twentieth-century Romania, into a tool of propaganda. Two such ideological annexations are striking: one took place in the period when Romania, as Germany’s ally during World War II and led by Marshall Ion Antonescu, who was loyal to Adolf Hitler, to a certain extent copied the Nazi model (1940–1944); the other, much longer, began when Communists took power in 1947 and lasted until 1989, with some inevitable continuations. The beginnings of contemporary Romanian capitalism in the 1990s brought, in addition to an attempt to depoliticize Beethoven by means of professional, responsible musicological enquiries, no longer grounded in Fascist or Communist ideologies, another type of approach: sensationalist, related to the “identification” of some of Beethoven’s love interests who reportedly lived on the territory of present-day Romania.

Coda

2019 ◽  
pp. 117-120
Author(s):  
Richard Carlin
Keyword(s):  
Country Music ◽  
First Century ◽  
The Other ◽  
Twenty First Century ◽  
The Times ◽  
The Many ◽  
The One

Country performers have always balanced two contradictory impulses: on the one hand, they value their musical influences and the many earlier styles that made the music what it is today; on the other, they are interested in adding to the tradition by incorporating the latest technical and musical innovations. The Coda shows how, in the twenty-first century, we see the same scenario playing out among the latest country stars. While some stars adjust their music to fit the times, others continue to perform pretty much in the same style for decades. Country music keeps trucking along, despite many transformations and changes over the years.

scholarly journals Enacting Law

Lateral ◽  
2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Steff Nellis
Keyword(s):  
Twentieth Century ◽  
Legal System ◽  
Performing Arts ◽  
First Century ◽  
Historical Research ◽  
Public Knowledge ◽  
Performance Practices ◽  
Contemporary Performance ◽  
Twenty First Century

Although historical research into twentieth-century theatrical tribunals is widespread, the recurring theme of justice in contemporary performance practices remains largely unexplored. However, an increasing number of twenty-first-century artists have begun relying on structures of the court. By creating theatrical tribunals, these artists try to create a space for an alternative jurisdiction. However, a clear typology of this tribunal genre in the contemporary performing arts is still lacking. This article therefore aims to characterize theatrical tribunals. In the first section, I describe the setting of the courtroom as a theatrical place in which law gets enacted or performed. Following several scholars that already stated the important spectacular aspects of the legal system, I discuss the dramaturgy of the courtroom as a specific dramatic place with its own scenography, script, and dramatis personae. Next, by analyzing the dramaturgy of the courtroom, I distinguish two categories within the tribunal genre: (1) re-enactments of preeminent lawsuits that heavily rely on twentieth-century documentary practices and (2) performative pre-enactments of futuristic trials that have not yet been held or cannot be held because of systemic shortcomings. Finally I examine how contemporary theatrical tribunals could contribute to the enlargement of public knowledge on historical and contemporary examples of injustice, and whether they could obtain effective changes in our societies.

Epilogue

2020 ◽  
pp. 255-260
Author(s):  
Chelsea Stieber
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
The Other ◽  
Twenty First Century

The epilogue presents the curious case of the two Christophean societies: one in Cap-Haïtien in 1954, and the other in Paris in 1965. It argues that the critiques of Haiti’s revolutionary and post-independence leaders among mid-twentieth-century Caribbean intellectuals is a reaction primarily to the Duvalier dictatorship in Haiti. It argues that scholars must revisit the Dessalinean heritage of radical postcolonial critique, extracting it from its weaponization by the Duvalier dictatorship, in order to posit a place for Haiti in the twenty-first century.

Media and Cognition

2013 ◽  
Vol 17 (2) ◽  
pp. 253-273
Author(s):  
Sébastien de la Fosse ◽  
Keyword(s):  
Cognitive Processes ◽  
Digital Technologies ◽  
First Century ◽  
The Other ◽  
Human Cognition ◽  
Marshall Mcluhan ◽  
Twenty First Century ◽  
The One

While throughout history, knowledge and information have been mostly bound in language and text, new twenty-first-century media increasingly tend to break with this tradition of linear sequentiality. This paper will present an account of how this development may be explained by a relationship between the use of digital technologies on the one hand, and the (human) user’s cognitive processes on the other. This will be done by, first, outlining two existing conceptions of human cognition and, subsequently, by confronting these with observations in the field of philosophy of media, most prominently the position of Marshall McLuhan.

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