The third wave: democratization in the late twentieth century

1992 ◽  
Vol 29 (07) ◽  
pp. 29-4135-29-4135
Keyword(s):  
Twentieth Century ◽  
Third Wave ◽  
The Third ◽  
Late Twentieth ◽  
Late Twentieth Century

The Third Wave: Democratization in the Late Twentieth Century

1992 ◽  
Vol 71 (2) ◽  
pp. 190
Author(s):  
Andrew J. Pierre ◽  
Samuel P. Huntington
Keyword(s):  
Twentieth Century ◽  
Third Wave ◽  
The Third ◽  
Late Twentieth ◽  
Late Twentieth Century

scholarly journals THE THIRD WAVE: DEMOCRATIZATION IN THE LATE TWENTIETH CENTURY, BY SAMUEL P HUNTINGTON. OKLAHOMA: UNIVERSITY OF OKLAHOMA PRESS, 1991, 384 PAGES. ISBN: 9788475099606

2021 ◽  
Vol 6 (1) ◽  
pp. 394-400
Author(s):  
Mohd Irwan Syazli Saidin
Keyword(s):  
Twentieth Century ◽  
Comparative Politics ◽  
American Political Science Association ◽  
Third Wave ◽  
Clear Cut ◽  
The Third ◽  
University Of Oklahoma ◽  
Late Twentieth ◽  
American Political Science ◽  
Late Twentieth Century

The discourse on democratization features prominently in the work of Samuel P. Huntington (1927-2008) entitled ‘The Third Wave’ which was published in 1991. Huntington was one of the most influential political scientists and previously held the position of university professor at the prestigious Harvard Kennedy School in the US. He authored many academic books on comparative politics and was the founder of the Foreign Policy Journal as well as the former president of the American Political Science Association (IPSA). Written in six interesting chapters, Huntington’s Third Wave provides a clear-cut discussion on fundamental questions of when, why and how democratization occurs in different parts of the world. This fascinating book has contributed significantly to the empirical analyses on comparative transition to democracy and autocracy in around thirty global southern states, primarily in Latin America and Asia, and remains relevant for discourses on any future wave of global democratization.   Cite as: Syazli Saidin, M. I. (2021). The third wave: Democratization in the late twentieth century. (Book review).  Journal of Nusantara Studies, 6(1), 394-400. http://dx.doi.org/10.24200/jonus.vol6iss1pp394-400

Hasidism: The Third Century

1996 ◽  
pp. 415-426
Author(s):  
Joseph Dan
Keyword(s):  
Twentieth Century ◽  
Orthodox Judaism ◽  
Third Century ◽  
Jewish Mysticism ◽  
Modern Times ◽  
The Third ◽  
The Past ◽  
Mystical Tradition ◽  
Late Twentieth ◽  
Late Twentieth Century

This chapter examines the third century of hasidism, considered the most enduring phenomenon in Orthodox Judaism in modern times. Gershom Scholem described hasidism as the ‘last phase’ in a Jewish mystical tradition that spanned nearly two millennia. Yet at the conclusion of his account of the movement in the last chapter of Major Trends in Jewish Mysticism, he appeared, with some regret, to view his subject as a phenomenon of the past. The contrast between this view of hasidic history and the reality of Jewish life in the late twentieth century could not be greater. The hasidism of today cannot be treated as a lifeless relic from the past. It appears to have made a complete adjustment to twentieth-century technology, the mass media, and the intricate politics of democratic societies without surrendering its traditional identity in the process.

Eschatology

2021 ◽  
pp. 213-253
Author(s):  
Peter J. Schmelz
Keyword(s):  
Twentieth Century ◽  
Final Section ◽  
Cultural Work ◽  
The Third ◽  
Long Time ◽  
Late Twentieth ◽  
Late Twentieth Century

The beginning of the third and final section of the book, Chapter 7, looks at another response to the anxieties accompanying the transition from Stagnation to Perestroika in the 1980s. The chapter studies the eschatological “postludes” cultivated by Valentin Silvestrov, including, most prominently, his monumental Fifth Symphony (1980–82), a nostalgic re-imagining of Bruckner and Mahler for the end of time. For Silvestrov the genre of the postlude represented a “collection of echoes, . . . a form . . . open not to the end, as is more usual, but to the beginning.” “It is not the end of music as art,” he added, “but the end of music, in which it may remain for a very long time.” This chapter thus considers the cultural work performed by Silvestrov’s resulting sense of “unending ending.” It treats his eschatology as a “useful fiction” to illuminate the conflicted sensations of stasis and acceleration that characterized the last decades of the USSR. Silvestrov, like many in the late twentieth century, began seeing the end everywhere. He responded by composing its echoes. The resulting music spoke to the sense of malaise and environmental catastrophe that gripped the USSR during its final years even as the promises of glasnost and perestroika took hold.

Democratic Transitions in the Late Twentieth Century

2019 ◽  
pp. 334-347
Author(s):  
Peter Thiery
Keyword(s):  
Latin America ◽  
Arab World ◽  
Third Wave ◽  
Southern Europe ◽  
Democratic Transitions ◽  
The Third ◽  
Late Twentieth ◽  
The Arab Spring ◽  
Late Twentieth Century ◽  
Relevant Factors

This chapter provides an overview of the latest democratization thrust, which had already ebbed away by the mid-2000s, and which Samuel Huntington describes as the ‘third wave’ of democratization. This wave began in the 1970s in Southern Europe (Portugal, Greece, Spain) and spread via Latin America to Asia, Eastern Europe, and Africa; only the Arab world remained largely resistant to democratization efforts until the ‘Arab Spring’. The different (and changing) global and international environments, different currents, the course, and the results of this wave of democratization at both global and regional levels are examined. Finally, the explanatory approaches and the relevant factors of these democratization processes are briefly outlined.

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

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