Suchergebnisse

According to a recent feature in The Economist, democracy has been only half achieved this century and should flower in the next. In preparation for new forms of democracy, well-known political theorist Philip Resnick addresses some of the fundamental questions surrounding the practice of democracy at the end of the twentieth century and the difficulties of governance in the twenty-first century, including issues of globalization, nationalism, and direct democracy.

Three generations after the Irving family arrived in Canada from Scotland, the name K. C. Irving hit the Forbes top billionaires list, making K. C. one of the richest men in the world and the most powerful businessperson in Canada. But there is much more to the Irving story than the fascinating and brilliant K. C. and his immediate legacy.Twenty-first Century Irvings takes a careful look at both the family foundations upon which this empire was built and the dozen or more individuals who, in the twenty-first century, constitute the future of this important business family. A business story, a family story, and a Maritime story, Twenty-first Century Irvings is a book for anyone interested in or affected by the legendary Irvings of New Brunswick

Scientific life is changing in fundamental ways as the twenty-first century approaches. Advances in technology are changing methods of scientific communications and dissemination of information, while diminishing resources lead to stabilization, politicization, increased public oversight, and the potential for significant downsizing. Libraries can foster the crucial interdisciplinary connections necessary to forge a new vision of scholarship.

What are phenomena of contemporary biopolitics in the twenty-first century? Foucault's theory of biopolitics as neoliberalism is opposed to post-political theories developed by Agamben, Hardt and Negri and as such – more instructive. Because microstrategy of power is not Foucault's final word on politics, political genealogy opens the space for creative and local critique of biopolitics. And if military interventions, terrorism and wars against terrorism are exemplary phenomena of biopolitics, bellum justum is a contradictio in adjecto. In response to such biopolitics, the relation between sovereignty and democracy is re-examined and we are entering a time of small revolutions

We are preparing to enter the twenty- first century not only physically but also intellectually. One may ask if it matters whether we enter the twentieth or twenty-first century. But if we reflect deeply we will realise that it does. We had entered the twentieth century a hundred years ago with revolutionary developments both in the world of politics as well as that of knowledge. The countries of Asia and Africa came under colonial rule during the nineteenth century and we entered the twentieth century as colonized countries. But colonial rule with all its shame, loot, exploitation and plunder also opened new horizons of knowledge. It jolted us out of the slumber of centuries. We were initiated into the world of science. Our attitudes towards everything changed forever. We also began to imbibe new values land democratic structures both in the social and political spheres. Our sense of humiliation and subjugation was compensated to some extent by entry into this new world of knowledge. We never looked back since then. However, progress was not linear. It never is.

This essay looks at the tension between pristine natural beauty and industry and how they have informed, and been represented in, California landscape painting and photography. Amy Scott argues that the influence of the traditional California landscape in art has evolved, thanks to a flexible understanding of the concept of the sublime, which draws upon ideas of nature to respond to external changes—including developments in technology. These changes have shaped the ways in which we imagine both the natural and the built environment in relation to ourselves. Scott traces this evolution through Albert Bierstadt's mid-nineteenth century painting On the Merced River and through twentieth century works by James Doolin, Ed Ruscha, Karen Halverson, and Michael Light.