Die 1880er Jahre waren der Beginn einer massiven europäischen Einwanderung nach Argentinien. In dieser Arbeit werden kulturelle, politische, wirtschaftliche und demographische Veränderungen für das Land untersucht und welche Auswirkungen diese auf das Selbstverständnis der argentinischen Intellektuellen und die argentinische Kultur hatten. Die leitende Frage wird sein, wie eine kulturelle und nationale Identität in Zeiten der massiven Einwanderungswellen im Untersuchungszeitraum entstehen konnte. Dabei wird die politisch-historische Entwicklung, d.h. die Konstitution einer nationalen Identität, erörtert: Ist Argentinien mit der Unabhängigkeit im Jahre 1810 tatsächlich wirtschaftlich und politisch eigenständig geworden ist? Durch Balibars Nationenbegriff wird verifiziert werden, dass sich das Land erst im Untersuchungszeitraum zu einer Nation wandelte, das jedoch eine fragile Identität besaß. Zum anderen werden anhand des Assmannschen Konzeptes des Kulturellen Gedächtnisses die Erinnerungskultur und die Ausbildung eines kulturellen Gedächtnisses der argentinischen Intellektuellen erörtert. Ein einheitliches Bewusstsein für nationale und kulturelle Werte war nicht existent. Dies spiegelte sich in der Literatur, in der Kunst und im Theater im Untersuchungszeitraum wider. Im Laufe der massiven Einwanderungsströme entstand eine neue Gesellschaft, nichtsdestotrotz wurden kulturelle Neuerungen der Einwanderer kaum in die kulturelle Identität integriert. Nicht nur die eigene Kultur wurde verklärt gesehen, sondern auch die europäische Kultur überformt und selektiert, dessen Abbild in die argentinische Kultur integriert wurde. Durch diese Arbeit sollen Erkenntnisse aus historischer Sicht gewonnen werden, die bis heute Argentinien und den gesamten südamerikanischen Kontinent prägen: die Frage nach der Identität, die in Zeiten massiver Immigration verstärkt gestellt wurde. / In Argentina the 1880s mark the beginning of a huge flow of European immigrants to the country. This article deals with the cultural, political, economic and demographic changes and which consequences these had for the identity of Argentinian intellectuals and for Argentinian culture. The article also focuses on answering the prevalent question of how a cultural and national identity could develope in times of massive immigration during this era. The author attempts at examining the political development within its historic context, which gives key clues about the constitution of a national identity: Did Agentina really become self-sufficient politically and economically with its independence in 1810? Balibar's definition of nations confirms that the country of Argentina only developed into a nation during the examined time period of the 1880s, although with a yet fragile identity. The concept of Assmann helps to identify the collective memory and cultural identity of Argentinian intellectuals. Prior to the migration flow examined in this article, a homogeneous consciousness of national and cultural values did not exist. Literature, art and theatre during the examined era all reflected the lack thereof. During the migration flow a new society developed, in which, nevertheless, new cultural values of the immigrants were barely absorbed. Not only did one view Argentinian values in an idealized way, but one also saw selected parts of European culture as ideals, which were integrated into Argentinian culture as they were understood. The findings drawn from a historic context in this article will provide valuable information about questions of identity that, especially during migration flows, continue to be of interest in Argentina and the whole South American continent until today.

This study deals with the impact by modernisation and nationalism on the ethnicity and national identity among the Finnish speaking minority in the Torne Valley in the north of Sweden. The starting point is 1809 when Sweden lost the Finnish part of the kingdom to Russia. It resulted in the division of the Torne Valley into two na­tion-states and modernisation projects. The aim of the study is to investigate what happened to the ethnic content in the national identity in the two parts of the valley over time. The focus is placed on the parish of Övertorneå on the Swedish side between 1850 and 1939. According to the modernist and constructivist approach in theories of nationa­lism, national consciousness and national sentiments are confined to the era of industrialisation and modernisation. In the dissertation nationalism on the contrary is regarded as a myth-symbol complex which is transferred by one or many ethnic groups from the pre-modern state to the modern nation-state. A perspective from both above and below is used in the study. The investigation in the state assimilation policy shows, by contrast with previous studies, that the main aim up to the middle of the 1880s was to maintain religious hegemony in relation to the Laestadian revi­valist movement. It also shows that the assimilation policy was influenced by the continuity of the Finnish speaking minority in the nation-state and the previous link of Sweden together with Finland in the former unitary state. Moreover it shows that it was influenced by internal changes in the paradigm of education and party policy, the new international status of national minorities after First World War and language revitalisation in the Torne Valley. The process of language shift is used as an important marker of ethnicity and national identity. When following the shift of language use among the Torne Valley people from 1890 to 1930 the study shows that the language policy in school played an essential role for the shift, but the difference between women and men also reve­als the impact from the society outside school. It also reveals a dynamic change from both Finnish to Swedish and reverse before 1890. In contrast to previous studies the writing abilities in Finnish was at a considerable level and sustain in time compared to the writing abilities in Swedish. The stable pattern of inter-marriage between the Swedish Torne Valley and Finland 1860-1919 reveals a cultural continuity which stands in contrast to the dramatical political events of the time. / digitalisering@umu

<p><p></p><p>This dissertation posits that Nouvelle Cuisine brings together two of the most powerful cultural forces involved in constituting French national identity: food and revolution. As a result of this privileged position, Nouvelle Cuisine offers scholars a particularly rich object of study that can be related to larger issues at play in the formation and performance of national identity. In this work, I will argue that the revolutionary rhetoric used in the articulation of Nouvelle Cuisine serves several distinct and, at times, oppositional purposes. On the one hand, the revolutionary rhetoric is intended to create a break with a tumultuous and painful past, while asserting a new paradigm of national strength. On the other hand, however, the revolutionary rhetoric of equality and freedom also somewhat paradoxically participates in and supports the dark side of democracy, which includes but is not limited to behind-the-scenes jockeying for power and the elimination of groups that threaten or curtail either the power at the top or the legitimacy of the revolution itself. </p><p></p></p><p><p></p><p>This work will also argue that because of the very malleability of the revolutionary rhetoric and because French cuisine is considered such an important expression of the French nation, Nouvelle Cuisine and the contemporaneous culinary discourse transforms France's fine dining domain into a sort of theatre where national attitudes are not only represented to a socially diverse French public, but where the public itself is invited to participate in this performance of the nation: rehearsing, refining, and rejecting what it means to be French and, as a result, projecting both aspirations and anxieties of nationhood through this culinary landscape. </p><p></p></p><p><p></p><p>In writing this dissertation, I have drawn heavily on my training in literary studies, but have tried as much as possible to allow the subject matter to dictate an inclusive and interdisciplinary approach. I engage frequently with a wide variety of scholars such as Homi Bhabha, Roland Barthes, Michel Winock, Jean-Robert Pitte, Claude Fischler, and Stephen Mennell. Consequently, my argument places the classic literary tools of linguistic and semiotic methods alongside investigations that call on cultural studies, history, anthropology, sociology, political philosophy, and of course food studies. I use cookbooks, guidebooks, newspapers, magazines, menus, interviews, and multiple editions of the <italic>Larousse Gastronomique</italic> to provide first and foremost the context but also the evidence for this dissertation. I concentrate the bulk of my critical energies on the food and leisure magazine <italic>Le Nouveau Guide</italic> (founded by food critics Henri Gault and Christian Millau) and the cookbook series entitled "Les Recettes Originales de...", paying particular attention to Nouvelle Cuisine foundational chefs Paul Bocuse and Michel Gu&eacute;rard. </p><p></p></p><p><p></p><p>The narrative of Nouvelle Cuisine is equivocal, but it does not defy conclusions. My final analysis in this dissertation is that in the production and articulation of Nouvelle Cuisine, we see how food and revolution are used to reorganize the hierarchies and composition of a society. We see a reorganization that restores bourgeois, patriarchal values and clings to a hexagonal interpretation of France that prioritizes resistance over incorporation. We see a revolution that is perhaps less the French Revolution than the July Revolution. We see a revolution that is an alibi for restoration.</p><p></p></p> / Dissertation

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

Academic and popular discourse frequently positions postcolonial countries as receivers of visual culture rather than as producers and transmitters. These countries are often deemed as being subject to hegemonic forces of global media flows, the influx of foreign programming into their media landscapes hindering any significant development of distinct national identity through visual media. Since independence from British rule in 1962, government, media practitioners and viewers in the postcolonial Caribbean nation of Trinidad and Tobago have sought ways to build a national visual culture despite the inundation of non-local visual texts into the country. This study positions postcolonial Trinidad and Tobago as actively productive of its own identity, and through a cultural studies analysis of television advertising, examines the central role that this industry (including personnel, economic structure, equipment and texts) plays in the construction of a national visual culture. This process of collective imagining takes place within the visual imaging of the advertising industry, and ultimately charts the undoing of colonial, hegemonic discourses within the broader mediascape. Ultimately the advertising industry facilitates the active negotiation of national identity, catalyzing the process of visual sovereignty.

<p>This dissertation investigates colonial and postcolonial practices of cultural representations in Namibia. The state sponsored Annual National Culture Festival in Namibia was studied with a specific focus on the Kavango Region in northeastern Namibia. I was particularly interested in how cultural representations are produced by the nation-state and local people in a post-colonial African context of nation-building and national reconciliation, by bringing visions of cosmopolitanism and modernity into critical dialogue with its colonial past. During the apartheid era, the South African administration encouraged the inhabitants of its &bdquo / Native Homelands‟ to engage in &bdquo / cultural‟ activities aimed at preserving their traditional cultures and fostering a sense of distinct cultural identity among each of Namibia‟s officially recognized &bdquo / ethnic groups‟. This policy was in line with the logic of South African colonial apartheid rule of Namibia, which relied upon the&nbsp / emphasis of ethnic differences, in order to support the idea that the territory was inhabited by a collection of &bdquo / tribes‟ requiring a central white government to oversee their development. The colonial administration resorted to concepts of &bdquo / tradition‟ and &bdquo / cultural heritage‟ in order to construct Africans as members of distinct, bounded communities (&bdquo / tribes‟) attached to specific&nbsp / localities or &bdquo / homelands‟. My central argument is that since Namibian independence in 1990, the postcolonial nation-state has placed emphasis on cultural pride in new ways, and on&nbsp / identifying characteristics of &bdquo / Namibian-ness‟. This has led to the institution of cultural festivals, which have since 1995 held all over the country with an expressed emphasis on the notion of &bdquo / Unity in&nbsp / Diversity‟. These cultural festivals are largely performances and cultural competitions that range from lang-arm dance, and &bdquo / traditional‟ dances, displays of &bdquo / traditional‟ foodstuffs and dramatized representations. The ethnographic study shows that while the performers represent diversity through dance and other forms of cultural exhibition, the importance of belonging to the nation and a&nbsp / larger constituency is simultaneously highlighted. However, as the study demonstrates, the festivals are also spaces where local populations engage in negotiations with the nation-state and contest regional forms of belonging. The study shows how a practice which was considered to be a &bdquo / colonial representation‟ of the &bdquo / other‟ has been reinvented with new meanings in postcolonial Namibia. The study demonstrates through an analysis of cultural representations such as song, dances and drama that the festival creates a space in which &bdquo / social interaction‟ takes place between participants, spectators and officials who organize the event as social capital of associational life.</p>

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

El nacionalcatolicisme franquista, ha sigut substituït per un patriotisme democràtic espanyol? Aquesta tesi explora, mitjançant l'anàlisi del cas espanyol, com els estats establerts promouen i dónen forma a la identitat nacional de llurs ciutadans, i com això es reflecteix al nivell individual. La tesi aprofita la recent transició a la democràcia i les diferències internes del cas com a oportunitats per guanyar possibilitats d'anàlisi de la dinàmica de canvi en la identitat nacional en paral·lel als canvis en el context polític. Al llarg de la tesi s'empra una àmplia varietat de fonts I mètodes de recerca: Anàlisi de fonts documentals i literatura secundària, metodologia Q i anàlisi estadística de dades d'enquesta provinents tant d'enquestes preexistents (ISSP, WVS, CIS) com d'una enquesta pròpia realitzada el gener de 2007. Els resultats mostren com l'evolució dels discursos polítics sobre la nació espanyola han condicionat les actituds dels ciutadans, en un procés de reconstrucció incompleta de la identitat nacional espanyola.

This study argues that the American citizen’s choice to perform or not perform sacrificial national duties has been heavily mediated by sentimental representations of sacrifice in popular narratives. Through an analysis of the American captivity narrative from its origins in the seventeenth century up to its current state in the contemporary period, this project also asserts that race plays a central a role in defining the type of citizen who should perform the most traumatic and costly of national sacrifices. Based on the implied reader’s sentimental identification with the suffering, white female captive, clear racial and cultural demarcations are made between the captor and the captive. These strong demarcations are facilitated through the captive’s choice to perform sacrifices that will sustain her social and racial status as a privileged and authentic identity. Her successful defense of her cultural and racial purity from a racialized threat heightens her ethos, investing her marginalized identity with power and influence. This representation of the suffering, sacrificial female captive who gains legitimacy via her fulfillment of national duty offers a sentimental model of civic duty for American citizenry to emulate. In addition, the sentimental representation of sacrifice in the captivity narrative not only stabilizes an authentic national collective, but also suggests to marginalized persons that national sacrifice can supply legitimacy and privilege. In opposition to this narrative representation of legitimacy gained through sacrifice, Indigenous authors Mourning Dove and Leslie Marmon Silko depict the sentimental performance of sacrificial duty as a dangerous discourse that internally colonizes those who desire legitimacy in the United States. These Indigenous counter-narratives show clearly that the narrativization of sentimentality and sacrifice more often than not defines America and its authentically pure citizens as worth the price of death.

@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }span.addmd { }div.Section1 { page: Section1; } Alphonse Mucha is primarily known for his early career producing Parisian Art Nouveau posters. However in 1910, Mucha left Paris to return to his home in the Czech lands where he concentrated on creating works for his country. Unfortunately, the later part of his career receives little to no attention in most art history books. His collection, The Slav Epic, represents ideas of Pan-Slavism, patriotism, and national identity. A leading scholar of national identity was Johann Gottfried Herder, a Czech sympathizer who influenced writers such as Jan Kollár and the historian František Palacký. Mucha’s works provided a visual representation of national identity and collective history specifically called for by these scholars. This thesis seeks to shed light on the late works of this artist, tracing the ever-present Slavonic influences, and also to place them in context within Czech Nationalism and Pan-Slavism in order to establish their historical significance.