5 pp. / This fact sheet describes describes the socioeconomic and cultural aspects of the Navajo reservation, as well as the history of extension and effective extension programs and collaborations conducted on this reservation.

2 pp. / This fact sheet briefly describes the socioeconomic and cultural aspects of the Navajo reservation.

2 pp. / This fact sheet describes research and research protocol with audiences on the Navajo reservation.

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The thesis defines and explores three different modalities of nationalism - diagnosis, activism and redemption - in the context of contemporary Bulgaria. Nationalists see a significant divergence between ‘who we should be' and ‘who we are'. This is accentuated by Bulgarian citizens' experiences of socio-political chaos and uncertainty. The thesis looks at the political rituals which aim to redeem the ‘ill' Bulgarian nation, conceived as both post-Ottoman and post-Soviet. It focuses the importance of affect for understanding the relevance of the nation for citizens' sense of self. I begin by examining the apparatus of production through which the Bulgarian national subject is imbued with a particular character. I consider how it has been constituted historically and how it continues to be moulded by contemporary discourses. I demonstrate that ‘being Bulgarian' is nowadays a primarily negative state of being, defined through the discourse of the ill nation. As far as nationalists are concerned, this illness can be cured only through attempting, out of the debris of historical contingency, to renew social structures so that they more closely resemble the ideal. My research focussed on one nationalist organisation in Bulgaria which attempted to fulfil this task: VMRO (or IMRO- the Internal Macedonian Revolutionary Movement). I explore how the organisation creates and renews itself as a descendant of the national revival movements of the 19th and early 20th century, and thus as a valid form of contemporary nationalism, while at the same time it fills the role of a modern political party. To heal the nation, VMRO declares a need to be vigilant against further catastrophes and to address the consequences of previous ones. It thus interprets existing social grievances according to specific narratives about the nation's problems and prescribes redemptive action. VMRO addresses a public which has internalised a sense of being judged by ‘the international' (often imagined as ‘a dictate'). This is not the ‘real'international, but an imagined, power-laden domain. Nationalists engage with this domain by constructing illicit discourses which challenge this nexus of power. In the thesis, I explore how the traditional imperatives of a nationalist organisation - making claims for territories, populations and minority issues - are hybridized by the organisation's dialogic engagement with both ‘the international', with citizens' daily concerns and their affective states.

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<p>This dissertation examines South African artist Irma Stern’s contributions to modernism in South Africa and to modernism as a global movement. It analyzes how Stern’s interactions with South Africans, combined with her early artistic training in Germany and her cultural connections to the South African Jewish community, helped her to bring critical issues of race, gender, and nation into focus through her work. This study goes beyond the work of previous scholars who have suggested that Stern was uninterested in social or political causes, arguing that Stern was acutely aware of how social and political themes contributed to modernism’s development in Europe. Moreover, this study concludes that Stern employed similar strategies to develop a South African modernism. Although she often spoke pejoratively about nonwhite South Africans, she was cognizant of the fact that the act of painting nonwhites made significant artistic and political statements.</p><p>Because Stern is virtually unknown in the United States, this study will do the following: 1) Introduce Stern to an American audience by discussing her work from the beginning of her artistic training in Germany in 1913 to her death in 1966; 2) Reconnect Stern to the larger global debates about modernism in the twentieth century; 3) Analyze Stern’s works that have received little or no attention in previous scholarship; and 4) Discuss the long-term influence that Stern’s work had in shaping the direction of South African art before, during, and after apartheid.</p><p>Formal analysis and close readings of Stern's oil paintings, drawings, travel narratives, and watercolors are crucial in understanding how she used her artistic talents to record visual interpretations of South African culture history. As one of only a few internationally respected South African artists of the apartheid era, an examination of Stern's work and career allows for a more complex understanding of how race, gender, and nation contributed to the development of modernism in South African art history.</p> / Dissertation

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Diss.--Universität Bamberg, 2001. / Bibliogr. p. 171-189.