Introduction

2019 ◽  
pp. 1-10
Author(s):  
Giuliano Garavini
Keyword(s):  
Twentieth Century ◽  
Political Economy ◽  
International Political Economy ◽  
The Other ◽  
Rentier State ◽  
Land Rent ◽  
Nation States ◽  
The World ◽  
History Of ◽  
Different Cultures

The Introduction deals with the place of sovereign landlords, in particular landlords that ruled over some of the most productive oil regions in the world, in the history of the twentieth century. Petrostates are often disliked because of their “rentier state” status. They have the aura of a “pariah state” compared to the other “productive” members of the international community. Land rent has been progressively marginalized as a topic of mainstream political economy thinking, and has generally negative connotations for Liberal and Marxist intellectuals and economists alike. The general dislike for rent as “undeserved wealth” lies very deep in widely engrained religious and cultural views all over the world. Variations of the biblical admonition that “if anyone is not willing to work, neither should he eat” exist so many different cultures. This book holds no such prejudice against land rent and sovereign landlords. It simply observes that land rent exists because the Earth is finite and because much of the ecosphere has been split up in the twentieth century among sovereign landlords called nation states. Each of these nation states has peculiar geographical and cultural characteristics and has to deal with them. The existence of petrostates such as Venezuela, Saudi Arabia, Nigeria, and Iran, nation states with such an important regional and global role, while at the same time crucially dependent on international land rent (a rent that comes from exports), cannot be easily dismissed as the outcome of a quirk of international political economy that has generated extravagant regimes.

scholarly journals A Woman to Rule the World: Rome Personified in the Roman Republic

2021 ◽  
Author(s):  
◽  
Campbell Orchard
Keyword(s):  
Twentieth Century ◽  
Roman Empire ◽  
Roman Republic ◽  
The Other ◽  
Female Figure ◽  
Imperial Cult ◽  
National Representation ◽  
The World ◽  
History Of ◽  
The One

<p>Revitalised by Mussolini in the early twentieth century as a symbol of the ‘New Roman Empire’, Roma has endured a long history of national representation. Traditionally the figure of Roma is on the one side associated by historians with the Roman imperial cult and Augustus, and on the other by Numismatists as the helmeted female figure on the coinage of the Roman Republic. However, these figures are not presently considered one and the same. When describing this figure, Roma is considered a Greek innovation travelling west, which naturally discounts well over two centuries of Roman issued coinage. Roma inaugurated by Hadrian and previously manipulated by Augustus was not simply a Greek import, but a complex Roman idea, which, true to Roman form, incorporated native and foreign elements in shaping an outward looking signifier of Roman identity.</p>

Hegemony and the Global Political Economy

2017 ◽  
Author(s):  
Richard Saull
Keyword(s):  
Political Economy ◽  
World Economy ◽  
International Political Economy ◽  
Historical Context ◽  
World Systems Theory ◽  
The Great Depression ◽  
The World ◽  
History Of ◽  
Socioeconomic Structure ◽  
Nuanced Understanding

Hegemony emerged as an analytical term to conceptualize different historical periods out of the combined post-1945 historical context of two key events: the dissolution of an international political order founded upon European colonial empires, and the establishment and evolution of a postwar liberal international economy under U.S. leadership. Within the subdiscipline of International Political Economy (IPE), the genesis of the concept of “hegemony” or “leadership” has two sources: the idea of hegemonic order or dominance within the world economy as articulated in Immanuel Wallerstein’s World-Systems Theory in the early 1970s, and the publication of Charles Kindleberger’s analysis of the Great Depression that initiated a debate involving neorealist and liberal-oriented scholars around what subsequently become known as “hegemonic stability theory.” John Ikenberry also articulated a nuanced understanding of hegemony from a liberal-institutionalist perspective with regard to the post-1945 international order. There exists a substantial amount of literature on the theory and history of hegemony within IPE, and much of this discussion has been fueled by ongoing developments in the world economy. Critics of hegemony situate and embed state power and behavior within the socioeconomic structure of capitalism, and also focus on class agency as central to the establishment and evolution of hegemonic orders. To varying degrees these scholars have drawn on the theory of hegemony developed by Antonio Gramsci.

scholarly journals Mythos of the North Pole: The Top of the World

Nordlit ◽  
2015 ◽  
pp. 3 ◽  
Author(s):  
Susi K. Frank
Keyword(s):  
Twentieth Century ◽  
Vertical Axis ◽  
North Pole ◽  
Modern Times ◽  
Hierarchical Order ◽  
The North ◽  
Static Image ◽  
The World ◽  
History Of ◽  
Different Cultures

<p align="LEFT">Not a few early twentieth-century cultural histories conceive of the development of humanity in modern times as a northward shift of the civilizational centre. In this thinking, they transform into narrative and geography the static image of a cosmos constructed along one axis of the globe, based on the Christian story of salvation. In this notion of the cosmos, with its upward-oriented vertical axis understood as a sign of hierarchical order, these histories refer back to a global symbolic legacy with origins in the cosmologies of very different cultures: the idea of the world as a mountain, the world with a mountain and a summit at its centre. In my article I trace the history of this image and its visualization from European antiquity onto the peak of heroic modernism in the first half of the twentieth century. In conclusion I ask what kind of transformation this image underwent to survive in our (still) post-heroic times.</p>

scholarly journals A Woman to Rule the World: Rome Personified in the Roman Republic

2021 ◽  
Author(s):  
◽  
Campbell Orchard
Keyword(s):  
Twentieth Century ◽  
Roman Empire ◽  
Roman Republic ◽  
The Other ◽  
Female Figure ◽  
Imperial Cult ◽  
National Representation ◽  
The World ◽  
History Of ◽  
The One

<p>Revitalised by Mussolini in the early twentieth century as a symbol of the ‘New Roman Empire’, Roma has endured a long history of national representation. Traditionally the figure of Roma is on the one side associated by historians with the Roman imperial cult and Augustus, and on the other by Numismatists as the helmeted female figure on the coinage of the Roman Republic. However, these figures are not presently considered one and the same. When describing this figure, Roma is considered a Greek innovation travelling west, which naturally discounts well over two centuries of Roman issued coinage. Roma inaugurated by Hadrian and previously manipulated by Augustus was not simply a Greek import, but a complex Roman idea, which, true to Roman form, incorporated native and foreign elements in shaping an outward looking signifier of Roman identity.</p>

Creeping, Drinking, Dying: The Cinematic Portal and the Microscopic World of the Twentieth-Century Cell

2011 ◽  
Vol 24 (3) ◽  
pp. 381-416 ◽  
Author(s):  
Hannah Landecker
Keyword(s):  
Twentieth Century ◽  
Scientific Knowledge ◽  
Cell Biology ◽  
Human Perception ◽  
The Other ◽  
Specific Context ◽  
Use Of Time ◽  
The World ◽  
History Of ◽  
Microscopic World

ArgumentFilm scholars have long posed the question of the specificity of the film medium and the apparatus of cinema, asking what is unique to cinema, how it constrains and enables filmmakers and audiences in particular ways that other media do not. This question has rarely been considered in relation to scientific film, and here it is posed within the specific context of cell biology: What does the use of time-based media such as film coupled with the microscope allow scientists to experience that other visualization practices do not? Examining three episodes in the twentieth-century study of the cell, this article argues that the apparatus of microcinematography constitutes what might be thought of as a technical portal to another world, a door that determines the experience of the world that lies on the other side of it. In this case, the design of apparatuses to capture time-lapsed images enabled the acceleration of cellular time, bringing it into the realm of human perception and experience. Further, the experience of the cellular temporal world was part of a distinct kind of cell biology, one that was focused on behavior rather than structure, focused on the relation between cells, and between the cell and its milieu rather than on cell-intrinsic features such as chromosomes or organelles. As such, the instruments and technical design of the microcinematographic apparatus may be understood as a kind of materialized epistemology, the history of which can elucidate how cinema was and is used to produce scientific knowledge.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

The World after the End of the World

2017 ◽  
Vol 39 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Kas Saghafi
Keyword(s):  
The Other ◽  
The World ◽  
History Of ◽  
The Absolute ◽  
End Of The World

In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

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