The study follows the process of the construction of belarussian national identity between the second half of the 19th and the first half of the 20th centuries in terms of community of name, language, territory and historical memories. This subjective foundation of a nation does not blend in the belarussian case with the civic model. Historical memory of Kalinovski's Uprising demonstrates the dubiousness of using a common historical past which itself corresponds with that of Russia and Poland. On the contrary, the allocating of belarussian national identity according to social demands was convinient. Unsuccesful vindication of the historical legacy of "Litva" and the failure of Belarussian to become the language of bureaucracy caused a decoupling of the genealogical bonds from the national identity. The longing of "tutejshi" for social happiness facilitated the appropriation of national identity as essentially a soviet one. Belarussians are becoming Belarussians as toiling people who are emancipated in a national state, deliniated by the colonial map. Keywords: Belarus, national identity, nationalism, national state, belorussification, «tutejshi»

Made available in DSpace on 2016-04-26T14:55:27Z (GMT). No. of bitstreams: 1 Osvaldo Esteves Sobrinho.pdf: 777744 bytes, checksum: 735cad87fff1434354aa167d48bbbdd8 (MD5) Previous issue date: 2015-06-26 / The Germany is a nation marked by constant disruptions in their development. From a fragmented state the unified empire, was defeated in two world wars. From a Unified empire was divided in two states and again unified into a nation State. However the delimitation of a community within States with borders, political systems and legal systems own-as in fact happened with Germany-was not enough to align the German national consciousness in the second half of the 20th century. The present research aims to understand the national condition in West Germany (Federal Republic of Germany), after the defeat in World War II, especially from the new reality of 1949, with its political division into two antagonistic States and, later, in the context of concrete demarcation of borders, with the construction of the Berlin wall in August 1961.During this period, emerges a conflict between two generations within the Western State. The generation born between 1910 and 1935, which experienced the particularity of Nazi sentiment, and the resulting generation (born between 1940 and 1945) who lived completely different historical events. The reason for this social conflict part preliminarily of older generation, composed by the participants of national socialism, which chose to react to silence as a way to hide their shameful history. On the other hand, the Western German youth refused to incorporate the attitudes of the previous generation and reacted otherwise, establishing a social imbalance in the interior of a modern national State. In addition, social conflicts are not the nature of generations, but of which there are, in this sense, the research brings a theory that seeks to explain how the generations erupt in society. So, is also analyzed the theoretical Fundaments and critics about the terms nation, nationalism and national identity, because they are historical imperatives for the comprehension of the dissertation during his reading. Through a social-historical analysis, and from sociological theories and some critical speeches, it was observed that the national feeling and the idea of nation are not immutable. It is complexity that articulates the historical dimension of the traditions of a culture and its limits in time and within a modern State. These terms may only be constructed and understood when analysed in conjunction with the particularities of cultural production and the transmission of these by means of dialogue between generations, conflicting or not, within a modern State, whether or not defined by borders / A Alemanha é uma nação marcada por constantes rupturas em seu desenvolvimento. De Estado fragmentado a império unificado, foi derrotada em duas grandes guerras mundiais. De Império unificado dividiu-se em dois Estados e novamente se unificou num Estado-nação. Todavia a delimitação de uma comunidade no interior de Estados com fronteiras, sistemas políticos e ordens jurídicas próprias - como de fato ocorreu com a Alemanha - não foi suficiente para alinhar a consciência nacional alemã na segunda metade do século XX. A presente pesquisa tem como objetivo compreender a condição nacional na Alemanha Ocidental (Republica Federativa da Alemanha), após a derrota na Segunda Guerra Mundial, sobretudo a partir da nova realidade de 1949, com sua divisão política em dois Estados antagônicos e, mais tarde, no contexto da demarcação concreta das fronteiras, com a construção do Muro de Berlim, em agosto de 1961. Neste período, emerge um conflito entre duas gerações no interior do Estado ocidental. A geração nascida entre 1910 e 1935, que vivenciou a particularidade do sentimento nazista, e a geração procedente, nascida entre 1940 e 1945, que viveu eventos históricos totalmente distintos. A razão para esse conflito social parte preliminarmente do comportamento da geração mais velha, composta pelos participantes do Nacionalsocialismo, a qual preferiu reagir ao silêncio como forma de ocultar sua história vergonhosa. Por outro lado, a juventude ocidental alemã se recusou a incorporar as atitudes da geração precedente e reagiu contrariamente, estabelecendo um desequilíbrio social no interior de um Estado nacional moderno. Além disso, conflitos sociais não são a natureza das gerações, mas delas decorrem, nesse sentido, a pesquisa traz uma teoria que procura explicar como as gerações irrompem na sociedade. Por isso, também é analisado os fundamentos teóricos e críticos sobre os termos nação, nacionalismo e identidade nacional, pois são imperativos históricos para a compreensão da dissertação durante sua leitura. Por meio de uma análise histórico-social, e a partir de teorias sociológicas e de alguns discursos críticos, observou-se que o sentimento nacional e a ideia de nação não são imutáveis. Tratase de complexidade histórica que articula a dimensão das tradições de uma cultura e seus limites no tempo e no interior de um Estado moderno. Esses termos só podem ser construídos e compreendidos quando analisados em conjunto com as particularidades da produção cultural e a transmissão dessas por meio do diálogo entre gerações, conflitantes ou não, no interior de um Estado moderno, delimitado, ou não, por fronteiras

With changes in the outside world and that we are constantly faced with potential risks, the effectiveness of risk communication has become a decisive factor. The purpose of this study is to investigate how the Swedish Civil Protection and Preparedness Authority (MSB) has adopted principles for effective risk communication and how they have designed their communication to best prepare citizens for potential crisis. The study also aims to examine how the communication features an image of the nation and how roles in society during a crisis are represented. To achieve this purpose, a normative and critical multimodal method has been applied to MSB:s risk communication in the form of the brochure "If crisis or war comes". The result of the study has shown that MSB largely adopts the principles of effective risk communication, but some parts of the brochure can be viewed as fairly misleading and have underlying ideas that may lead to undesired effects. The image of the nation in the brochure is produced as rational by describing the authorities and citizens as reasonably and active, which in some ways can be useful in gaining trust from the recipient but can also contradict in getting the people to act.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-04-24T19:12:32Z No. of bitstreams: 1 Júlia Capovilla Luz Ramos.pdf: 8853875 bytes, checksum: 8df0a92debfb50b50001691abe1a287a (MD5) / Made available in DSpace on 2015-04-24T19:12:32Z (GMT). No. of bitstreams: 1 Júlia Capovilla Luz Ramos.pdf: 8853875 bytes, checksum: 8df0a92debfb50b50001691abe1a287a (MD5) Previous issue date: 2012-07-06 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Como as reportagens fotográficas das festas populares do nordeste do Brasil, realizadas por Pierre Verger para a revista O Cruzeiro (1946-1951), se relacionam com a construção da nação brasileira na "Era Vargas"? Para responder a esta pergunta-problema, Michel Foucault (1926-1984) nos aponta um caminho: por meio dos discursos. Pretende-se, neste trabalho, discutir quais foram as contribuições das fotorreportagens de Pierre Verger para a construção de uma identidade nacional entre os anos de 1946 a 1951. Publicadas em O Cruzeiro, essas fotos propõem um jogo de invisibilidade e visibilidade ao articular o discurso do Estado, da revista e do próprio fotógrafo ("autor"), formando uma rede, sem, contudo, explicitar tal operação ou limitá-la ao que está dentro do quadro imagético. Tampouco, se trata de aprisionar tais fotografias num discurso pedagógico proposto a partir do Estado Novo, pois, ao mesmo tempo, elas apontam um esforço de escapar da episteme da época. / How do the photographic reports of folk festivals in the northeast of Brazil, made by Pierre Verger for the magazine O Cruzeiro (1946-1951), relate to the construction of the Brazilian nation in the "Vargas era"? To answer this problem question, Michel Foucault (1926-1984) points out one way: through the speeches. It is intended, in this work, to discuss what the contributions of Pierre Verger Photo Reports were, in order to build a national identity from 1946 to 1951. Those photos published in O Cruzeiro suggest an array of invisibility and visibility by articulating the discourse of the State, the magazine and the photographer himself ("author"), forming a network, without, however, making evident such operation or restrict it to what is inside the imaging picture. Nonetheless, it is about imprisoning such photographs in a pedagogical discourse proposed by the New State, because, at the same time, they show an effort to escape from the episteme of the time.

No description available.

With nearly two billion speakers across the world, English has come to exist in all shapes and colors. Many functions and contexts in which English is found in the world are accounted for in the massive scientific effort to document the language’s global development. World English, New Englishes, and English as a Lingua Franca are concepts that aim to explain the different forms that the language takes in different countries. This paper explores the global development of English in its Swedish form, but shifts focus from second language English speakers to the native speakers of English who grow up in Sweden with parents from English-speaking countries. With most of the Swedish population being highly proficient in English, native English speakers in Sweden are more exposed to non-native English varieties spoken by second language speakers than the varieties used in their heritage countries. To understand how they are affected by their non-native environment, I interviewed seven students from an English heritage language instruction class at a Swedish upper secondary school. The 16- and 17-year-old students had parents from USA, UK, Australia, Ireland, and New Zealand, and unique stories about their experiences with the English language. Each student was interviewed individually and asked questions about their language abilities, their varieties, and their connections to their heritage countries. Information about their linguistic and biographical backgrounds was used to analyze the differences in their perspectives. The students considered it a great advantage that their native language was so widely spread, but they acknowledged that it to some extent led to them being disconnected from their heritage cultures, in some cases more than others.

<p>The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study.</p><p>Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as <i>nation</i> and <i>identity</i>, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis.</p><p>The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a <i>New Jew</i>, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.</p>

<p>This thesis examines the National Heritage Board in Sweden and the way they look upon themselves, the surrounding world and their mission. Methodologically it’s a discourse analysis based on poststructuralist and social constructionist thoughts. This means, simplified, that nothing is taken for granted and that power relations and ideology always matters. There is no true or distinct heritage. The public cultural heritage was often used as a tool in creating a homogeneous national identity, but what is its function today? The nationalistic function is politically impossible in the paradigm of today, stressing diversity and multiculturalism. The main result of the study is the Board’s alteration from a unity discourse to a diversity discourse, but at the same time there is an over-all ambiguity, which leads to the conclusion that the Board wants to describe themselves and their work in accordance with the diversity discourse, but are constantly falling back into the views of the unity discourse.</p>

The first Swedish commercial nuclear power plant was ordered in 1965. By 1973 it had been inaugurated, and building work had begun on the remaining three facilities that became the locations of Swedish large-scale nuclear power production. This thesis explores what kind of architectural objects, in a broad sense, the nuclear power plants in Sweden was discursively constructed as during these years. During the post war years enormous expectations were in Swedish politics attached to the implementation of nuclear power technology. An important discursive figure was that energy was of fundamental importance to society. Simultaneously it was articulated that nuclear power would provide an unlimited supply of energy. Society therefore was on the verge to a completely new era, an era which was to materialize through the nuclear power plant. Drawing upon Norman Fairclough’s theorization of discourse, three different orders of discourse are delineated wherein the nuclear power plant during the period 1965–1973 could be conceptualized as building: a discourse order of architecture, of landscape and of cultural heritage. It is a question of what sort of collective identity that is constructed through the utterances on nuclear power plants. Through the orders of discourse not only objects are produced, but also a who, on a collective level, that is producing them. These orders of discourse are connected to three different specific modes of temporal orientation which are formative for collective identity: towards the future, the past, and a position outside of history. Through an analysis of utterances and narratives in magazines, official texts, films, etc., this examination shows that in contrast to an international context, the nuclear power plant in Sweden was almost completely negated within the discourse order of architecture. Instead it was within the discourse orders of landscape and of cultural heritage that the nuclear power plant was to be conceptualized.

The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study. Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis. The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.