The paradigm of multiple modernities proposes that alternative modernities have formed across the globe as a result of social change. This paradigm stands in contrast to evolutionary and modernization theories, as well as theories of globalizing modernity, which argue that all societies are moving in the similar direction and that Western modernity is universalizing. Focusing on two specific trends, which are the closure of the political sphere for students and young people in general versus the growing role of women in the political sphere, it is suggested in this case study that Namibia is one of the societies that is characterized by distinctive social change. Particular attention is paid to the interrelationships between customs, invented traditions and the modern Western condition drawing on quantitative and qualitative data on Namibian university students and an extensive literature review to demonstrate that Namibia has an alternative type of the modern.

This study aims to explore how the imagined Chinese community, as the nation of Taiwan, was created and recreated between 1949 and 2011, to become the Taiwanese community. The theoretical concept of the ‘imagined community’, which is interconnected with the concepts of ‘invented tradition’ and ‘banal nationalism’, has been used to suggest a sociological interpretation of the transformation of people’s self-identification from ‘Chinese’ to ‘Taiwanese’, as a kind of reflection of the changing nation of post-war Taiwan. The social phenomenon of Taiwan residents’ changing self-identification raises a key concern, namely, has the nature of the nation in Taiwan changed? Junior and senior high school history textbooks (1949 to 2011), which can be regarded as representing the officially invented history, were used as resources, and analysed together with data gathered during interviews with twenty-five history teachers, who had not been screened for age or ethnic differences. The history textbooks provided content for a case study, comparable to that of the theoretical concept of the ‘invented tradition’. This could be regarded as ‘banal nationalism’, through which the life environment is subtly shaped and reshaped to become the ‘imagined community’, namely, the ‘national’ environment. The interviews with teachers were intended to help the researchers understand how the content in history textbooks had been taught, in order to explain how, or whether, the society undermined or reinforced the officially structured ‘imagined Taiwanese community’. The two approaches – one of which could be regarded as a top-down power, while the other could be considered as a social force – jointly provided the research framework and a perspective consistent with the changing social phenomenon of the increasing ‘Taiwanese’ identity among members of the population. This study concluded that ‘Taiwan’ has been produced and reproduced from the local identification to the national. The research results show that the meaning of ‘China’ and ‘Taiwan’ changed during three time periods: from the 1950s to the late 1980s, from the 1990s to the 2000s, and from the 2000s to 2010 and later. Through this process, mainland China and Taiwan were identified as one Chinese nation-state, beginning in the 1950s to the late 1980s, as one nation but two states, from the 1990s to the early 2000s, and finally, as two nation-states, from the early 2000s to 2010 and later. This research explored how ‘Taiwan’, an ‘imagined community’, has been shaped over time. Teachers further manifested ‘Taiwan’ as an explicit concept of national identity by providing other examples, in addition to the content in textbooks, and noting distinctions between ‘China’ and ‘Taiwan’. Theoretical logic is coherent with this empirical investigation, and this study provided the perspective to interpret how the state worked as a top-down force cooperating with society’s bottom-up perseverance, to invent ‘Taiwanese’ national history, through which the national identity of Taiwan was manifested.

Thesis (M.A.)--Miami University, Dept. of History, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 58-66).

Made available in DSpace on 2016-03-15T19:43:06Z (GMT). No. of bitstreams: 1 NILTON_FRANCO_EAHC.pdf: 4017232 bytes, checksum: 8c9631103395484acb0e75cc28480692 (MD5) Previous issue date: 2006-09-13 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This work presents a study about the soirée of Cooperativa Cultural da Periferia Cooperifa as a new cultural tradition started in the beginning of the XXI century in the South Zone of the city of São Paulo. Due to its acting focus to be immersed in the strong tensions of economic and social order, the Cooperifa woke up our interest through its innovative activities with community related to the new papers it gave to the poetry and bar as means to renew community life through fomenting culture.The investigation shows Cooperifa s growth evolution including their leaders initial propose, and the mechanisms that ruled their actions, such as mass media communication related to journalism, television and informatics, as well as the support of Itaú Cultural based on Rouanet Law. In the last part of the work is developed a study of the soirée under the look of Invented Traditions , which were extracted from Eric Hobsbawm s concepts. The study shows an analyze about the internal an external dynamic of the soirée, treating exclusively of its routine, habits and poetic-literary production, as well its social, politic and economic function in the middle of its social network, in the modern-day. / Este trabalho apresenta um estudo sobre o sarau da Cooperifa (Cooperativa Cultural da Periferia) como uma nova tradição cultural surgida no início do século XXI, na zona sul da cidade de São Paulo. Devido a seu foco de atuação estar imerso nas fortes tensões de ordem econômica e social, a Cooperifa despertou nosso interesse através de suas atividades inovadoras com a comunidade em torno dos novos papéis que atribuiu à utilização da poesia e ao bar, como meios de revigorar a vida comunitária, através do fomento à cultura. A investigação mostra a evolução do crescimento da Cooperifa, incluindo os propósitos iniciais dos seus líderes e os mecanismos que condicionaram as suas ações, tais como a mídia jornalística, televisiva e informatizada, assim como, o apoio da parceria com o Itaú Cultural, por meio da Lei Rouanet. Na parte final do trabalho é desenvolvido um estudo do sarau sob o olhar das tradições inventadas , que foram extraídas dos conceitos de Eric Hobsbawm. O estudo mostra uma análise da dinâmica interna e externa do sarau, tratando respectivamente de suas rotinas, hábitos e produção poético-literária, assim como do seu papel social, político e econômico em meio à rede social a que pertence, na contemporaneidade.

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Este trabalho pretende analisar e demonstrar como as tópicas musicais afro-brasileiras são um exemplo de tradição inventada na música brasileira do século XX (especialmente a partir do modernismo e do nacionalismo musical no Brasil). O conceito de tradição inventada foi amplamento discutido e desenvolvido pelo historiador Eric Hobsbawm, e diz respeito a um conjunto de práticas reguladas por regras comumente aceitas, estabelecendo normas derivadas do costume ou da convenção. Assim, este trabalho correlacionará o conceito de tópicas musicais e o conceito de tradição inventada, a fim mostrar como a aparente configuração de uma tópica não está de acordo com sua forma original e nem tampouco é uma representação literal do que se refere, mas sim estilizações e recriações estabelecidas através de um senso comum. Tudo isso será feito a partir de uma abordagem que reúne a análise musical e abordagens semióticas baseadas na teoria das tópicas, a fim de compreender alguns caminhos de significação nos processos composicionais da música brasileira. Para isso exemplificarei e analisarei a tópica canto de xangô e a tópica berimbau em obras de compositores a partir do modernismo e nacionalismo musical brasileiro, percorrendo então outros compositores brasileiros ao longo do século XX, tanto na música erudita quanto na música popular, até abordagens mais recentes como obras dos compositores Rodolfo Coelho de Souza e Fernando Iazzetta. / This work aims to analyze and demonstrate how African-Brazilian musical topics are an example of invented tradition in Brazilian music of the 20th century (especially from modernism and musical nationalism in Brazil). The concept of invented tradition was widely discussed and developed by the historian Eric Hobsbawm, and it concerns a set of practices regulated by commonly accepted rules, establishing norms derived from custom or convention. Thus, this work will correlate the concept of musical topics and the concept of invented tradition to show how the apparent configuration of a topic is not in accordance with its original form, neither is it a literal representation of what it refers to. Rather than that, they are stylizations and recreations established through a common sense. All of this will be done by bringing together the musical analysis and semiotic approaches based on topic theory in order to understand some paths of signification in the compositional processes of Brazilian music. Therefore, I will exemplify and analyze the canto de xangô topic and the berimbau topic in works of composers from modernism and Brazilian musical nationalism, by going from other Brazilian composers throughout the twentieth century, both in classical and popular music, until the most recent approaches, as found in works by the composers Rodolfo Coelho de Souza and Fernando Iazzetta.

Este trabalho pretende analisar e demonstrar como as tópicas musicais afro-brasileiras são um exemplo de tradição inventada na música brasileira do século XX (especialmente a partir do modernismo e do nacionalismo musical no Brasil). O conceito de tradição inventada foi amplamento discutido e desenvolvido pelo historiador Eric Hobsbawm, e diz respeito a um conjunto de práticas reguladas por regras comumente aceitas, estabelecendo normas derivadas do costume ou da convenção. Assim, este trabalho correlacionará o conceito de tópicas musicais e o conceito de tradição inventada, a fim mostrar como a aparente configuração de uma tópica não está de acordo com sua forma original e nem tampouco é uma representação literal do que se refere, mas sim estilizações e recriações estabelecidas através de um senso comum. Tudo isso será feito a partir de uma abordagem que reúne a análise musical e abordagens semióticas baseadas na teoria das tópicas, a fim de compreender alguns caminhos de significação nos processos composicionais da música brasileira. Para isso exemplificarei e analisarei a tópica canto de xangô e a tópica berimbau em obras de compositores a partir do modernismo e nacionalismo musical brasileiro, percorrendo então outros compositores brasileiros ao longo do século XX, tanto na música erudita quanto na música popular, até abordagens mais recentes como obras dos compositores Rodolfo Coelho de Souza e Fernando Iazzetta. / This work aims to analyze and demonstrate how African-Brazilian musical topics are an example of invented tradition in Brazilian music of the 20th century (especially from modernism and musical nationalism in Brazil). The concept of invented tradition was widely discussed and developed by the historian Eric Hobsbawm, and it concerns a set of practices regulated by commonly accepted rules, establishing norms derived from custom or convention. Thus, this work will correlate the concept of musical topics and the concept of invented tradition to show how the apparent configuration of a topic is not in accordance with its original form, neither is it a literal representation of what it refers to. Rather than that, they are stylizations and recreations established through a common sense. All of this will be done by bringing together the musical analysis and semiotic approaches based on topic theory in order to understand some paths of signification in the compositional processes of Brazilian music. Therefore, I will exemplify and analyze the canto de xangô topic and the berimbau topic in works of composers from modernism and Brazilian musical nationalism, by going from other Brazilian composers throughout the twentieth century, both in classical and popular music, until the most recent approaches, as found in works by the composers Rodolfo Coelho de Souza and Fernando Iazzetta.

The search for origins of the republican aedileship presents a difficult task. At first sight the story about foundation and evolution of this magistracy lies in ancient sources. On the closer look it may be discerned, that the same sources have their own present intentions. They search for a tradition in oral based history to legitimise the current status of the aedileship and present it in historical context. Yet another question raises ambiguity. The twin character of the magistracy blurs our perceptions and makes it challenging to distinguish whether plebeian and curule aedileships are evolving intertwined or apart of each other. Nevertheless, delving upon the wide variety of ancient sources it is still possible to reconstruct the basic functions and duties of the aediles. Furthermore, the aedileship has to be looked upon in broader picture, in order to figure out, how it is situated in the system of republican magistracies and why the roman aristocrats strived to serve as aediles. The main purpose of this paper is to bring the aedileship out of the shadows and present it as full pledged research topic. Starting with aedileship it may embark us on questioning our knowledge of the republican magistracies. Powered by TCPDF (www.tcpdf.org)

The aim of this work is to help claryfying the question of why members of baráčník's clubs, who are engaged in maintaining national traditions, are nowadays talking about the decline or even the end of their movement and how they are trying to resist this threat. Baráčník's movement is understood in this work as an artificially created tradition of the late 19th century, which is confronted with today's social reality, which according to one theory, can also be described as an society of experience. In the first phase of the thesis, it is first introduced how, on the basis of concrete arrangements, a centrally organized movement focused on the care of national customs and traditions emerged from the network of pubs table companies. It is monitored how the headquarter of baráčník's movement worked on standardization of baráčník's ideology, symbolism and program. It also shows how these changes in ideology were approached by the members themselves and the public. Special attention is focused on finding the answer, why it was possible that baráčník's clubs have not been canceled in the era of communist regime. In the second phase are solved the problems, how baráčníks organize their activities today, how they thematize their problems with lack of interest in their program and finally how they present...

This thesis argued that the Jain community in the diasporic context of the USA has invented a new form of Jainism. Sectarian negotiations are the distinguishing marks of the diaspora Jain community and their invented form of Jainism. Based on ethnographic study that is, interviews and observations conducted at four different sites (Jain temples/communities) from June-August 2016, the thesis examined the sectarian negotiations among the diaspora Jain community in the USA and the invented Jain tradition that is resulting from these negotiations. The central questions of the research on which this thesis is based were: 1) what are the levels, processes and results of sectarian negotiations within the Jain diaspora community in the USA, and 2) what is the nature and characteristic of the new form of Jainism, the invented tradition; and how do Jains in the USA experience and use it.