State, market, the public and human development in the twenty-first century: A review of the seventh forum of the World Association for Political Economy

2012 ◽  
Vol 2 (4) ◽  
pp. 516-523
Author(s):  
Ding Xiaoqin ◽  
Yin Xing
Keyword(s):  
Political Economy ◽  
Human Development ◽  
First Century ◽  
The Public ◽  
World Association ◽  
The World ◽  
Twenty First Century

Silent Film: A Very Short Introduction

2020 ◽  
Author(s):  
Donna Kornhaber
Keyword(s):  
Silent Film ◽  
First Century ◽  
Short Introduction ◽  
The Public ◽  
The World ◽  
Twenty First Century ◽  
Silent Era

Silent Film: A Very Short Introduction covers the full span of the silent era, touching on films and filmmakers from every corner of the globe and focusing on how the public experienced these films. Silent film evolved during three main periods: early, transitional, and classical. First seen as a technological attraction, it rapidly grew into a medium for telling longer stories. Silent film was genuinely global, with countries around the world using cinema to tell stories and develop their own industries. Although sound was introduced to cinema in the late 1920s, elements of silent film persist even into the twenty-first century.

Bobs and the “Character of Our Citizenship”

2019 ◽  
Vol 23 (2) ◽  
pp. 42-63
Author(s):  
Leah Payne
Keyword(s):  
Twentieth Century ◽  
Middle Class ◽  
Social Order ◽  
Public Life ◽  
First Century ◽  
The Public ◽  
White Middle Class ◽  
The World ◽  
Late Nineteenth ◽  
Twenty First Century

Many view the twenty-first-century white Pentecostal-charismatic rejection of feminism, and enthusiasm for self-professed harasser of women, Donald J. Trump, as a departure from the movement’s late nineteenth- and early twentieth-century origins wherein many Pentecostal-charismatic women were welcomed into the public office of the ministry. Early Pentecostal writings, however, demonstrate that twenty-first-century white Pentecostal orientations toward women in public life are based in the movement’s early theological notions that women must uphold the American home, “rightly” ordered according to traditionally conservative, white, middle-class norms. An America wherein women work and minister primarily in the domicile, according to early white Pentecostals, would be a powerful instrument of God in the world. Thus, no matter how transgressive they may have appeared when it came to women speaking from the pulpit, for the most part, white Pentecostals sought to conserve the traditional social order of the home.

scholarly journals Thomas Piketty – The Adam Smith of the Twenty-First Century?

2020 ◽  
Vol 9 (4) ◽  
Author(s):  
Jacob Dahl Rendtorff ◽  
Øjvind Larsen
Keyword(s):  
Political Economy ◽  
Adam Smith ◽  
First Century ◽  
The World ◽  
Long Time ◽  
Twenty First Century ◽  
Thomas Piketty

Piketty’s book, Capital in the Twenty-First Century (2014) has become a bestseller in the world. Two month after its publication, it had sold more than 200.000 copies, and this success will surely continue for a long time. Piketty has established a new platform to discuss political economy.

The Glass Wall of Opera Houses

2018 ◽  
Author(s):  
Parker O'Connor
Keyword(s):  
Public Spaces ◽  
First Century ◽  
Glass Wall ◽  
The Public ◽  
Art Form ◽  
The World ◽  
Opera House ◽  
Twenty First Century ◽  
Relationship Of ◽  
Opera Houses

  In the twenty-first century, many argue that Opera is a dying art form and no one wants to see an opera. However, since 2000 many opera houses have been built around the world in centres without longstanding traditions of opera. As a result architects are now forced to balance the centuries of traditions of opera with a contemporary audience. Architect and city developers have begun to think of inventive ways to use architecture of opera houses as a lure to attract those who might not typically attend the opera. The act of going to the opera begins with the transportation chosen to get there, followed by interaction with the public spaces outside, through the doors into the public lobby, and finally into the auditorium. The opera house can be a space that people do not only go to see a performance but to feel like a part of a community. This integration is developed through the architecture of the opera house and, in particular, the choice of material of glass in many contemporary opera houses. This relationship of community inside versus outside the opera house is permeable through this glass wall. Understanding the opera house as a creator of community allows for opera to remain an integral part of culture moving further into the twenty-first century.

Slavery and the Trumpocene: It's Not the End of the World

2019 ◽  
Vol 41 (1) ◽  
pp. 40-50
Author(s):  
Claire Colebrook
Keyword(s):  
Living System ◽  
Racial Violence ◽  
First Century ◽  
The West ◽  
The Earth ◽  
The World ◽  
End Of The World ◽  
Twenty First Century ◽  
Geological Period

There is something more catastrophic than the end of the world, especially when ‘world’ is understood as the horizon of meaning and expectation that has composed the West. If the Anthropocene is the geological period marking the point at which the earth as a living system has been altered by ‘anthropos,’ the Trumpocene marks the twenty-first-century recognition that the destruction of the planet has occurred by way of racial violence, slavery and annihilation. Rather than saving the world, recognizing the Trumpocene demands that we think about destroying the barbarism that has marked the earth.

Twenty-First-Century Fiction

2018 ◽  
Author(s):  
Berthold Schoene
Keyword(s):  
World Literature ◽  
Power Relations ◽  
First Century ◽  
Wealth Accumulation ◽  
Essential Component ◽  
Imperial Power ◽  
The World ◽  
Twenty First Century ◽  
Globalized World ◽  
Global Relations

This chapter looks at how the contemporary British and Irish novel is becoming part of a new globalized world literature, which imagines the world as it manifests itself both within (‘glocally’) and outside nationalist demarcations. At its weakest, often against its own best intentions, this new cosmopolitan writing cannot but simply reinscribe the old imperial power relations. Or, it provides an essential component of the West’s ideological superstructure for globalization’s neoliberal business of rampant upward wealth accumulation. At its best, however, this newly emergent genre promotes a cosmopolitan ethics of justice, resistance. It also promotes dissent while working hard to expose and deconstruct the extant hegemonies and engaging in a radical imaginative recasting of global relations.

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