scholarly journals Double binds and double movements: Masculinity, mobility and fraternal rivalry in Pascal Alex Vincent’s Donne-moi la main (2008)

2019 ◽  
Vol 30 (1) ◽  
pp. 44-52
Author(s):  
Joe Hardwick
Keyword(s):  
Hegemonic Masculinity ◽  
The Other ◽  
Fine Line ◽  
The Road ◽  
Double Binds ◽  
The One

Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contrast to the claustrophobia of the twin relationship, the road movie emphasises a mobility which is emancipatory. Drawing on the work of Juliana de Nooy and on theory relating to the road movie, this article examines how Vincent’s film juggles the restrictions of the twin tale with the freedom of the road. In doing so, it questions the extent to which the road movie might offer liberation from hegemonic masculinity for its protagonists.

Charles Lamb's Contribution to the Theory of Dramatic Illusion

PMLA ◽  
1954 ◽  
Vol 69 (5) ◽  
pp. 1150-1159
Author(s):  
Sylvan Barnet
Keyword(s):  
Samuel Taylor Coleridge ◽  
Final Analysis ◽  
The Other ◽  
The Road ◽  
Degree Of Acceptance ◽  
Suspension Of Disbelief ◽  
Charles Lamb ◽  
The One

The concept of “Dramatic Illusion” is never thought of today in conjunction with Charles Lamb. Rather it is chiefly associated with Samuel Taylor Coleridge, for two good reasons. Coleridge's position on this difficult topic is, in the final analysis, a middle of the road one, between the extremes, say, of Castelvetro on the one hand and Dr. Johnson on the other. Second, his formula, “the willing suspension of disbelief,” whether adequate or not, is so effectively put that it has been granted a degree of acceptance which a less vivid phrase might never have received.

ROADSIDE COMFORTS: TRUCK STOPS ON THE FORTY DAYS ROAD IN WESTERN SUDAN

Africa ◽  
2013 ◽  
Vol 83 (3) ◽  
pp. 426-445 ◽  
Author(s):  
Kurt Beck
Keyword(s):  
Small Town ◽  
Truck Drivers ◽  
The Other ◽  
Social Infrastructure ◽  
Safe Haven ◽  
The Road ◽  
Other Hand ◽  
The Social ◽  
The One

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.

Vorhabenplanung durch Gesetz

2020 ◽  
Author(s):  
Jan Ziekow
Keyword(s):  
Federal Government ◽  
The Other ◽  
German Unification ◽  
Infrastructure Development ◽  
Climate Protection ◽  
Inland Waterways ◽  
The Road ◽  
Planning Procedure ◽  
Speed Up ◽  
The One

In its “Climate Protection Program 2030”, the German Federal Government has brought an instrument back to life which was last used after the German unification to speed up infrastructure development: the approval of traffic infrastructure projects by laws on measures rather than by plan approval decision. As a result of the faster expansion of rail and inland waterways, as much traffic as possible should be shifted from the road to these modes of transport. In preparation for these legislative steps, a study has been commissioned by the Federal Ministry of Transport, which has been reproduced in this volume. On the one hand, it analyses in detail the constitutional requirements under which such measures are permitted. On the other hand, it develops proposals for the distribution of tasks between the actors in a planning procedure concluding with a legislative act.

scholarly journals Mythology of object world in Maxim Garetsky’s works

2020 ◽  
Vol 65 (3) ◽  
pp. 345-354
Author(s):  
L. P. Leska
Keyword(s):  
Human Life ◽  
Central Place ◽  
Partial Identification ◽  
The Other ◽  
The Novel ◽  
Complete Protection ◽  
Fine Line ◽  
Surrounding World ◽  
The One ◽  
Native Root

A hypothetical proposition is stated that mythologization of objects in M. Garetsky’s works is a way to harmonize the surrounding world and man in it, and also a precise picture of the reality, a sign of changes and calamities.In accordance with M. Garetsky’s mythopoetical concept, the tragic spirit of human life is vivid in simultaneous personi­ fication of objects and objectivation of people; it is revealed in such moments as hiding face (“Winter”), or partial identification of man with clothes (“Guiet current”). Complete and irrevocable objectivation of man is presented by the author in the story “Winter” and the novel “Guiet current”.In the story “Winter” the central place, or a scene where objects attack man is a mythological image of a house, which fulfills various content and conceptual functions in the author’s mythmaking. On the one hand, the house is a protective hearth, which gives man complete protection, like in the stories “In a Sauna”, “Native Root”. On the other hand, it is a place of uncomfortable and constrained human life.It is stressed that in M. Garetsky’s descriptions we see a transition from life precision to dethronement of social myth. There is a similar fine line between life plane and myth in the story “In a Sauna”, but this work, unlike the story “Tar”, depicts not destruction of myth, but its growth and reinforcement, which is symbolically revealed in sentences and in magical charms (the story “Winter”).

scholarly journals Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence

2015 ◽  
Vol 27 (1) ◽  
pp. 78
Author(s):  
Ina Pukelytė
Keyword(s):  
Ethnic Minority ◽  
Jewish Community ◽  
The Other ◽  
Deleuze And Guattari ◽  
Jewish Culture ◽  
The Road ◽  
National Theatre ◽  
On The Road ◽  
European Theatre ◽  
The One

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.

An Ass in a Lion’s Skin

2021 ◽  
Vol 11 (2) ◽  
Author(s):  
Sébastien Doane
Keyword(s):  
Hegemonic Masculinity ◽  
Gender Construction ◽  
Leadership Role ◽  
The Other ◽  
Speaking Up ◽  
Book Of Genesis ◽  
The One

The book of Genesis gives two opposing portraits of Judah’s masculinity. On the one hand, he is shown as the leader of Jacob’s sons, and on the other he is ridiculed by his daughter-in-law. Is Judah an ass in a lion’s skin? This article explores Judah’s antithetical masculinities as examples of the inherently unstable nature of gender construction. Although Judah is only the fourth son of Jacob, he is expressly depicted in Genesis as assuming a leadership role in relation to his brothers, including speaking up against killing Joseph, negotiating with his father regarding Joseph’s demand that Benjamin be brought down to Egypt, and pleading with Joseph for Benjamin’s life. In Genesis 49: 8–12, Judah receives the most favourable treatment of all Jacob’s sons. The blessing of Jacob from his deathbed portrays Judah’s hegemonic masculinity at its finest. However, in Genesis 38, Judah’s masculine performance far from ideal biblical masculinity. Not only does Judah lack persuasiveness when he accuses Tamar, but she is able to persuade him that his own actions were wrong. Judah is deceived, specifically deceived by a woman. The shame he wants to attribute to Tamar rebounds on himself. In the end, he acknowledges himself to be less righteous than Tamar (Gen 38: 26). The episode as a whole reveals that Judah does not have control of his family. Genesis 38 clearly subverts Judah’s hegemonic masculinity. What are the rhetorical effects of this subversion of Judah’s hegemonic gender construction? Jacob speaks of Judah as a lion, but in Genesis 38 he seems to have been portrayed in the role of the ass.

Welcome to “Planet Porno”

2021 ◽  
Vol 2 (1) ◽  
pp. 9-30
Author(s):  
Jesper Andreasson ◽  
Thomas Johansson
Keyword(s):  
Intimate Relationships ◽  
Hegemonic Masculinity ◽  
The Other ◽  
Loss Of Control ◽  
Male Fitness ◽  
Delicate Balance ◽  
The World ◽  
The One

This article aims to explore the connections between bodybuilding, (hyper)masculinity, sexuality, and the construction of subcultural and sexual spaces among Swedish male fitness dopers. Analytically, the article employs the perspectives of hardcore masculinities—and the potential harms to relationships and health involved in the use of doping—as well as more legitimate and hegemonic masculinity configurations. The results show that there is a delicate balance between masculinity-connoted sexual and other bodily urges and desires, on the one hand, and the loss of control, on the other. Living in a pornographic imaginary can also result in a loss of reasonable contact with the world outside the subculture of bodybuilding. Upholding this lifestyle thus involves an ambivalent construction of masculinity found at the intersection between marginality and hegemony, which sometimes leads to loneliness and a lack of intimate relationships.

Afterword A Long Road To Travel

2018 ◽  
pp. 257-274
Author(s):  
Alec G. Hargreaves ◽  
Mark McKinney
Keyword(s):  
Public Funding ◽  
The Other ◽  
Colonial Era ◽  
Post Colonial ◽  
The Road ◽  
High Profile ◽  
Box Office ◽  
On The Road ◽  
The One ◽  
Minority Ethnic

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.

On the Road Again

2021 ◽  
pp. 85-122
Author(s):  
Sara H. Lindheim
Keyword(s):  
The Other ◽  
The Road ◽  
Great Leap ◽  
Other Hand ◽  
On The Road ◽  
The One

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.

A New Materiality

2018 ◽  
Author(s):  
Mikael Wiberg
Keyword(s):  
The Other ◽  
The Road ◽  
Other Hand ◽  
Look Back ◽  
Material Turn ◽  
The One

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.

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