On the Road Again

Author(s):  
Sara H. Lindheim
Keyword(s):  
The Road ◽  

The space of empire also plays a starring role in Tibullus’ elegies; his obsession emerges around the word via, the road. It is not a great leap to assert that the road and the space of empire are inextricably intertwined. On the one hand, for Tibullus, the road and by extension the geographic expanse of empire are the root of all evils. Mobility belongs to the male world of commerce, exploration, and war—all activities he sets up in direct opposition to love. On the other hand, however, much as Tibullus struggles to divorce amor from the road, in particular, a dark and unholy alliance emerges between the two. Although he wishes to establish empire and amor as separate and opposing categories, bounded, fixed, and distinct, the fines do not hold. Characteristics of the man of politics, the warrior, and the merchant, players in the game of empire, turn up with increasing frequency as characteristics of the lover. And in the end, the viae appear on the very body of the puella, emblazoned on her most elegiac Coan clothing. Tibullus offers up a vision of the fallibility of fines, where things spill over the boundaries into places they are least welcome.

Africa ◽  
2013 ◽  
Vol 83 (3) ◽  
pp. 426-445 ◽  
Author(s):  
Kurt Beck

ABSTRACTThis contribution examines the truck stop on the desert track known as the Forty Days Road that connects the Sudanese capital with Darfur and the regions beyond. The truck stop is represented as the main roadside institution to regulate roadside sociality, channel the relationships between travelling and roadside folk, and generally mediate between residents and strangers. On the one hand, it serves as a gateway to small-town Sudan and the hinterland, providing the social infrastructure for the commercial flow of trucks, commodities and passengers as well as for the flow of news and fashions. On the other hand, by catering for the needs of passing truck drivers and other travellers, it operates as a safe haven. It provides shelter in the most comprehensive sense of the word and thus constitutes a protected place for recovering from the pains of travelling. At the same time, however, these roadside practices of brokerage and hospitality also serve the resident society of small-town Sudan as a means to keep the travelling strangers safely apart in a circumscribed domain and, thus, keep the influences from the road in quarantine.


2015 ◽  
Vol 27 (1) ◽  
pp. 78
Author(s):  
Ina Pukelytė

This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre organized itself in a nomadic way, that is, Jewish actors and directors were constantly on the road, touring from one country to another. On the other hand, there was a tense competition between the local Jewish theatres both for subsidies and for audiences. This competition did not allow the Jewish community to create a theatre that could represent Jewish culture convincingly. Being a theatre of an ethnic minority, Jewish theatre did not enjoy the same attention from the state that was given to the Lithuanian National Theatre. The nomadic nature of the Jewish theatre is shown through the perspective of the concept of nomadic as developed by Deleuze and Guattari.


Author(s):  
Alec G. Hargreaves ◽  
Mark McKinney

In assessing the extent to which creative works by post-migratory artists are shaped by the legacy of the colonial era in present-day France, we delineate a spectrum stretching between two poles – on the one hand, postcolonial entrenchment, and on the other, post/colonial detachment – between which lie a range of more nuanced and multi-polar positions. Politically hard-edged rappers typify the more entrenched end of the spectrum, positioning themselves in conflict with the state and appealing to audiences in which post-colonial minorities are to the fore. More consensual positions, suggesting that France is moving or has moved beyond the polarized divisions of the colonial era, tend to characterize the work of artists such as professional dancers benefiting from public funding and others, such as the filmmaker and actor Dany Boon, whose minority ethnic origins have been largely effaced in productions that have achieved high-profile box office successes among broadly based audiences. The works of many other post-migratory artists are positioned between and in some respects disjunct from these poles, tracing multi-polar trajectories in which Anglophone spaces often displace the binary logic of (post-)colonialism. At the same, many of these artists complain that, no matter how hard they may try to leave behind divisions inherited from the colonial past, they remain in many ways framed by them in majority ethnic eyes, suggesting that a long journey still lies ahead on the road from a neo-colonial to a post/colonial France.


Author(s):  
Mikael Wiberg

The previous chapter provided us with a theory of the materiality of interaction. So, where do we go from here? Well, in order to move forward, I use this chapter to suggest that we might now need to look back in order to see the road ahead of us more clearly. In this chapter I therefore present how a focus on the materiality of interaction one the one hand leaves any distinctions between the physical and the digital behind, and how it on the other hand presents us with three distinct challenges as we move forward through the material turn.


2020 ◽  
pp. 30-45
Author(s):  
Einar Lie

This chapter examines the two mandates of Norges Bank. In autumn of 1818, Norges Bank began providing ordinary services to the public, discounting bills and lending directly against real estate. The institution was now both the nation’s bank of issue and its sole bank. Expectations of what the bank was to achieve pulled in two diametrically opposed directions. On the one hand, the bank was to take control of the inflated monetary system and bring the value of money back to par, namely the silver value guarantee issued when the Storting established the bank in 1816. Based on both contemporary and modern wisdom, this would speak in favour of tightening the money supply. On the other hand, the bank was to meet the country’s considerable need for credit, which would speak in favour of adding liquidity. However, a desire to supply more credit to farmers, merchants, timber traders, and others competed with the long-term goal of returning money to par. Indeed, the reason why the road to par became so long and winding has to do with the desire to supply the nation with credit: both the money supply and credit volumes were expanded repeatedly to meet the country’s borrowing needs.


2014 ◽  
pp. 57-76
Author(s):  
Maria Valentinovna Kuglerova

“Ay, But Droma Pkhirdyom”: The Gypsy and the Road(Self-Identity in Soviet and Post-Soviet Gypsy Literature in the Russian Cultural and Political Context)The Gypsies have always been a peculiar minority in Russia. On one hand, the Russians admired Gypsies’ vagrancy and desire for freedom. The Gypsies were a kind of an alter-ego of the Russians’ – as they wished to be, but dared not. On the other hand, the Gypsies even in relatively liberal czarist times were treated as the second-rate people, not mentioning the soviet deportations. The Gypsy wandering was especially irritating, so the authorities always tried to settle them down. From the Gypsies’ side the attitude (the strict opposition Gadjo/Roma and at the same time the phenomenon of the “choral” settled Gypsies who connected Russian and Gypsy cultures) was ambiguous, too. It shows the main feature of Gypsy identity – the desire for wandering, the dependence – but only on the road, and the dual attitude to this feature from the side of the Russian majority. This feature and the ambiguous attitude towards it one can define as the crucial feature of the Soviet and Post-Soviet Gypsy literature. By 1938 (before the supporting of the national minorities stopped) in Soviet Gypsy literature existed two main directions in the narration: the narration about the evil capitalistic past (the exploitation of the “choral” Gypsies, who were devoid of the road by Russians – M.Iljinsko’s stories) and the depicting of the brave Soviet reality – when the Gypsies are happy to work and to be settled in the kolkhozes (M.Bezludzko’s poems). This image of the new Soviet Gypsy is rooted in the image of the vagrancy (through its’ denial for Soviet epoch and its’ glorification for czarist times), as the detailed analysis of the texts shows. „Ay, But Droma Pkhirdyom”: Cygan i droga (Tożsamość własna w radzieckiej i postradzieckiej literaturze cygańskiej w rosyjskim kontekście kulturowym i politycznym)Cyganie zawsze byli szczególną mniejszością w Rosji. Z jednej strony Rosjanie podziwiali bezdomność  Cyganów i ich pragnienie wolności. Cyganie stanowili swego rodzaju alter ego Rosjan: byli tacy, jakimi ci ostatni być chcieli, ale nie ośmielali się. Z drugiej zaś nawet w stosunkowo liberalnych czasach caratu traktowano ich jako ludzi drugiej kategorii, nie wspominając o sowieckich deportacjach. Wędrowny Cygan denerwował szczególnie, tak więc władze zawsze starały się ich osiedlać. Postawy Cyganów także były dwuznaczne (ścisła opozycja Gadziowie/Romi i jednocześnie zjawisko „chorału” osiadłych Cyganów, łączącego kultury rosyjską i cygańską). Ujawnia to główną cechę tożsamości cygańskiej: pragnienie ruchliwości, zależność – ale tylko w drodze, co zderzało się z dwoistą postawą rosyjskiej większości. Ową cechę jak też dwuznaczną postawę wobec niej można uznać za zasadniczy rys radzieckiej i postradzieckiej literatury cygańskiej. Około 1938 roku (zanim skończyło się wspieranie mniejszości narodowych) w radzieckiej literaturze cygańskiej występowały dwie główne linie narracyjne: narracja o złej kapitalistycznej przeszłości (wykorzystywanie „chorałowych” Cyganów, którzy zostali wyprowadzeni z drogi przez Rosjan: M. Iljinsko) oraz opisywanie wspaniałej rzeczywistości radzieckiej – kiedy to szczęśliwi Cyganie pracują i osiedlani są w kołchozach (M. Bezludzko). Taki obraz nowego radzieckiego Cygana ma źródła w obrazie bezdomności (ze względu na negowanie epoki radzieckiej i gloryfikację czasów carskich), co pokazuje szczegółowa analiza tekstów.


2016 ◽  
Vol 294 ◽  
pp. 57-58
Author(s):  
Kazimierz J. Pawelec ◽  

The glossed decision of the Supreme Court is particularly important for the practice, inasmuch as it addresses two extremely important issues. On one hand, the decision expresses a general principle that the mere fact of a driver approaching a pedestrian crosswalk does not impose on him the obligation to perform excessive defensive maneuvers. On the other hand, it recognizes the need for a timely response, depending on the road conditions and situations. Thus, the decision addresses an important issue of the relationship between a driver and a pedestrian occurring at a crosswalk. Importantly, the provisions in force impose different obligations on drivers and pedestrians, the only common liability being a requirement for a particular caution. However, the above comments do not solve the conflict, because the existing legislation often imposes the obligation to do the impossible on a stronger traffic participant, i.e. the driver, which was recognized by the Supreme Court, which expressed an opinion diverging from the previous jurisprudence, all the more valuable, as it is sound and realistically approaching the issue in question.


2019 ◽  
pp. 145-150
Author(s):  
Con Chapman

This chapter collects, mosaic-style, a number of personality traits and quirks that Hodges was known to possess, and describes his various pastimes, so that the reader can get a sense of who the man was apart from his music. As others have noted, he was an avid gambler who claimed to have much success, but on the other hand he insisted on being paid with cash and carried money in a roll with a large-denomination bill on the outside, so it would have been easy for him to exaggerate his luck. He spent much of his life on the road and he grew tired of it, but he learned to accommodate himself to travel in various minor ways. Some of his arrangements for caring for his pet monkey are detailed.


2018 ◽  
Vol 113 (1) ◽  
pp. 282-286 ◽  
Author(s):  
JON X. EGUIA ◽  
FRANCESCO GIOVANNONI

We provide an instrumental theory of extreme campaign platforms. By adopting an extreme platform, a previously mainstream party with a relatively small probability of winning further reduces its chances. On the other hand, the party builds credibility as the one most capable of delivering an alternative to mainstream policies. The party gambles that if down the road voters become dissatisfied with the status quo and seek something different, the party will be there ready with a credible alternative. In essence, the party sacrifices the most immediate election to invest in greater future success. We call this phenomenon tactical extremism. We show under which conditions we expect tactical extremism to arise and we discuss its welfare implications.


2019 ◽  
Vol 69 (2) ◽  
pp. 896-898
Author(s):  
David Sider

In a well-known parable, told by Xenophon but credited by him to the sophist Prodicus, the young Heracles setting out on the road meets two women whose appearance turns out to be in accord with their characters and names, which are soon proclaimed by each to be Virtue and Vice. The former comports herself as a proper Greek woman should, ‘becoming to look at and freeborn by nature, her body (σῶμα) adorned with purity, her eyes with shame, her stature with moderation (τὸ δὲ σχῆμα σωφροσύνῃ), dressed in white’ (transl. Mayhew). Vice, on the other hand, is self-absorbed and slutty: ‘well nourished to the point of fleshiness and softness, made up to appear whiter and redder than she was in fact’, τὸ δὲ σχῆμα ὥστε δοκεῖν ὀρθοτέραν τῆς φύσεως εἶναι, ‘with wide-open eyes, dressed to show off her ripeness, often checking herself out and seeing whether anyone was looking at her, often even looking at her own shadow’.


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