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This thesis provides a genealogical account of ‘Taiwanese’ as a national identity. Genealogy is a way of writing a history of the present that de-familiarises us from what we now take for granted by revealing in detail how things were otherwise. As argued in this thesis, Taiwanese identity, in ontological terms, exists only in discourse. It is a way of talking and doing things relative to what sort of people the Taiwanese are; every word and action contributes to the idea that there is such a thing as ‘Taiwanese-ness’ and helps to substantialise the qualities/features attached to it. This thesis conceptualises Taiwanese identity as having no fixed, essential, or permanent identity; rather, it is formed and transformed continuously in relation to the ways people talk and act. This thesis investigates various social practices/events in post-authoritarian Taiwan that incited people to talk about Taiwanese-ness. Certain things, with different positions, forms and organisations, were said and done, while other alternatives disappeared or were omitted and repressed. With various power relations, different discourses mutually intersected, interacted and competed. The social practices/events selected in this thesis include the production of knowledge, the publication of a comic book, an election campaign, and a political demonstration. It is crucially noted that the social practices/events analysed in this thesis are just a few of the numerous events that occur periodically or repeatedly. This thesis, in sum, is an attempt to understand how various social practices/events enable or disable certain ways through which people make sense of their past and their political lives, thereby coming to terms with their belongings, their allegiances, and their situated-ness. Taiwanese-ness is spoken of, not only literally but also symbolically, and it is this process of being ‘spoken of’ that constitutes the Taiwanese-ness – the birth of the ‘Taiwanese’.

The island of Taiwan, located around 160 km east of China, has existed amongst contention and confusion for centuries, with a complex history of foreign occupation beginning in the mid-seventeenth century with the Dutch and only ending after the Nationalist Chinese Party’s (the KMT’s) relocation in the mid-twentieth century, at which point the desire of the people to rule and be free in their own country began shifting the notions of Taiwan and the Taiwanese. It was at this juncture that the processes of democratization and national identity formation collided and have since progressed as an influential parallel to the present day, in which Taiwan is now an established democratic nation with the majority of its citizens identifying as Taiwanese, distinct from the periods of foreign rule in the past and the present threat from across the Strait. An analysis of this paralleled progression through history is essential to fully comprehending the deeply embedded notions of democracy and national identity on the island which are currently influential factors shaping the domestic outlook towards the continuing cross-strait dilemma. Drawing on the academic literature and data from ESC (Election Study Center) and TEDS (Taiwan Election and Democracy Studies), a synthesis of agent- and process- oriented approaches, which emphasizes the roles of political elites, civil society and historical context, will be employed in this study to explore the parallel of democratization and Taiwanization in postwar Taiwan. / The island of Taiwan, located around 160 km east of China, has existed amongst contention and confusion for centuries, with a complex history of foreign occupation beginning in the mid-seventeenth century with the Dutch and only ending after the Nationalist Chinese Party’s (the KMT’s) relocation in the mid-twentieth century, at which point the desire of the people to rule and be free in their own country began shifting the notions of Taiwan and the Taiwanese. It was at this juncture that the processes of democratization and national identity formation collided and have since progressed as an influential parallel to the present day, in which Taiwan is now an established democratic nation with the majority of its citizens identifying as Taiwanese, distinct from the periods of foreign rule in the past and the present threat from across the Strait. An analysis of this paralleled progression through history is essential to fully comprehending the deeply embedded notions of democracy and national identity on the island which are currently influential factors shaping the domestic outlook towards the continuing cross-strait dilemma. Drawing on the academic literature and data from ESC (Election Study Center) and TEDS (Taiwan Election and Democracy Studies), a synthesis of agent- and process- oriented approaches, which emphasizes the roles of political elites, civil society and historical context, will be employed in this study to explore the parallel of democratization and Taiwanization in postwar Taiwan.

This study explores the significant role that Naadam has played, and continues to play, in the creation and maintenance of Mongolian national identity, both within and outside the boundaries of Mongolia. By regularly performing the Naadam festival, the Mongolian people are constantly constructing and restructuring their culture, customs, traditions, values and identity, both to themselves and to the world beyond. Naadam, or more fully Eriin Gurvan Naadam, the ‘Three Games of Men’ is a specifically and distinctively Mongolian festival, comprising a religious, secular, political or social ceremony followed by the traditional three games of wrestling, archery and horseracing. The Games component of the festival is examined drawing on the anthropology of games and sport related to identity, liminality and the use of ritual to engender unity. Also considered is the historical importance of games in ancient religious and celebratory festivals. An overview of Mongolia’s cultural history explores the ancient origins of the festival and its evolution from a simple hunting ritual, to its incorporation into a religious ceremony after the introduction of Buddhism into Mongolia, when the ruling Khans gave tribute to the new Living Buddha. It became a political festival by which to publically display and affirm the location of power, demonstrating the dualistic role of church and state in ruling the Mongol provinces under the Qing (Manchu) Empire. In the twentieth century Naadam became a ceremony of state as it was adopted by the first Mongolia government to demonstrate its new political (theocratic) status. Ten years later, Naadam was instrumental in the construction of nationalism and nation building as the new socialist government sought to impose its communist ideals. The public performance of Naadam successfully articulated the political hierarchy in both the spatial arrangements of the official audience and also in the construction of the festival itself. The 800th Anniversary Naadam dramatically and colourfully reflects and enacts Mongolia’s development into an independent, democratic nation with a spectacular ceremonial re-enactment of Chinggis Khan’s Court on centre stage - displaying pride and identity in Mongolia’s ancient traditions, symbols and rituals while also demonstrating its modernity.

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Orientador: Maria Lídia Lichtscheidl Maretti / Banca: Nádea Regina Barbosa Gaspar / Bnca: Pedro Luís Navarro Barbosa / Banca: Álvaro Santos Simões Junior / Banca: Ana Maria Carlos / Resumo: Neste trabalho, averiguamos em que medida a identidade nacional forjada pelo Romantismo de José de Alencar pôde ser retomada (ou ampliada) no filme O Guarani (1996), de Norma Bengell. Através de um discurso essencialmente verbal, o romancista apresenta um contexto sócio-histórico-ideológico da nação brasileira, tendo na descrição da paisagem e na composição dos perfis do colonizador e do indígena alguns dos elementos-chave para a constituição da identidade do país. No filme, dispondo de recursos áudio(verbo)visuais, Bengell retoma os elementos componentes da construção da identidade nacional proposta por Alencar, com a focalização abrangente das matas, da silhueta do indígena e dos colonizadores. A partir de conceitos da Teoria da Literatura, da Teoria Crítica e da teoria bakhtiniana sobre a enunciação, propomos uma análise das imagens verbais e verbo-visuais do texto cinematográfico O Guarani em comparação com o romance homônimo de Alencar (1857). Nessa investigação, pautada especialmente nas leituras de Bakhtin (1992; 1997; 1998) e Adorno (1991), averiguamos se a transposição da linguagem alencariana para o cinema retoma e/ou amplia os elementos constituintes da identidade nacional proveniente da posição ideológica dos românticos. A nossa proposta procura compreender o modo como se efetua essa adaptação do discurso verbal para o discurso áudio(verbo)visual, na descrição e interpretação desses textos. A fim de esclarecer o funcionamento dos mecanismos discursivos e imagéticos acionados pela composição cinematográfica, analisamos a relação entre os enunciados do filme e a retomada de elementos constitutivos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In this work, we inquire how much the national identity proposed by the romantic writer Jose de Alencar can be retaken or extended in the movie The Guarani (1996), by Norma Bengell. Through an essentially verbal speech, the novel writer presents a sociologichistoric- ideological context of the Brazilian nation. It is presented by the description of the landscape and the composition of the profiles of the colonizers and the indigenous people, and some of the key elements for the constitution of the identity of the country. In the film, making use of audio(verb)visual resources, Bengell retakes these elements of the national identity proposed by Alencar focusing it in the forests, on the indigenous people and on the colonizers. From concepts of the Theory of Literature, of the Critical Theory and the Theory of Bakhtin on articulation, we consider an analysis of the verbal images and verbappearances of the cinematographic text of The Guarani in comparison with the homonym romance of Alencar (1857). In this inquiry, based specially in the readings of Bakhtin (1992, 1997, 1998) and Adorno (1991), we inquire if the transposition of Alencar's language retakes and/or extends the constituent elements of the national identity proceeding from the ideological position of the romantic ones. Our proposal looked for to understand how this adaptation of the verbal speech to the audio(verb)visual speech occurs, in the description and interpretation of these texts. In order to clarify the function of the mechanisms of the speech and mechanism of image set for the cinematographic composition, we analyze the relationship between... (Complete abstract click electronic access below) / Doutor

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