Tautinis ugdymas kaip integralinė pilnutinės asmenybės dalis yra vienas iš šiuolaikinio ugdymo sudedamųjų dalių, sudaranti jaunosios kartos ugdymo pagrindą, tačiau spartūs Vakarų demokratijos plėtojimo procesai tautiškumui kelia tam tikrų rūpesčių. Spartėjanti globalizacija, kultūrinė integracija, ekonominė emigracija – tai vis reiškiniai, kurie ne tik veikia asmenybės dvasinį pasaulį, bet slopina tautiškumą, daro įtaką tautų ir kultūrų, bendruomenių ir individų tapatybei, skatina žavėjimąsi kosmopolitizmu. Todėl tautinio auklėjimo problema tampa ypač aktuali. Kadangi jau pradiniame mokykliniame amžiuje pastebima vis didėjanti orientuotis ne į dvasines, o į materialines vertybes, šio darbo tikslas – atskleisti 3 – 4 klasių mokinių tautiškumo sampratą bei jų žinias apie:  tautos istorijos liudytojus;  Lietuvos valstybės ir tautos simbolius;  folklorą;  valstybines bei tautos šventes;  šeimos šventes ir tradicijas. Empirinėje tyrimo dalyje taikyti du metodai: anketavimas ir kūrybinių darbų analizė. Tyrimo imtis: 192 trečių – ketvirtų klasių mokiniai. Tyrimo rezultatai: - mokinių supratimas apie tautos istorijos liudytojus yra pakankamas ir dažniausiai formuojamas mokykloje; - nors tautos atributiką mokiniai yra neblogai įsisąmoninę, tačiau skirtumai tarp atskirų klasių ženklūs; - mokinių požiūris į folklorą yra palankus, tačiau tai nėra neatsiejama jų gyvenimo dalis; - mokinių požiūris į valstybines šventes yra pakankamai brandus, tačiau tautos tradicijas jie suvokia... [toliau žr. visą tekstą] / National education as a constituent piece of full individuality is one of the nowadays education part, which contains the basement of education of young generation. But quick development of Western democracy raises some kind of concern about National Identity. Fast globalization processes, cultural integration – all it’s a phenomena, which impacts not only spiritual world of individuality, but also suppresses national identity, has influence to oneness of nations and cultures, communities and individuals, encourages to keen on cosmopolitanism. This is why the problem of National education becomes extremely actual. As already in young school age we can notice the growing orientation not into moral valuables, but to the tangible, the essence of this research work is to discover the National Identity conception between 3rd and 4th forms school learners and to reveal their knowledge about: 1. witnesses of the history of the nation, 2. symbols of State of Lithuania and it’s nation, 3. folklore 4. state and national holidays 5. Family holidays and traditions. Two methods were used in empirical part of the research work: questionnaire and analysis of creative works. Scope of the research work: 192 learners of 3rd and 4th forms. The results of the research work: - understanding of learners about witnesses of the history of the nation is sufficient and mostly this understanding is fashioned in the school, - national attributes are well known by learners, but there is marked difference... [to full text]

This thesis explores the process of identity renegotiation and the role social capital plays in civil society participation by the former refugee communities of Eritrean and Bhutanese living in Christchurch, New Zealand. This is undertaken through examination of three hypotheses pertaining to ethnic identity maintenance and national identity creation, community mobilisation and social capital, and the motivations behind such mobilisation. In comparing the processes of identity negotiation and social capital between the members of the Eritrean and Bhutanese communities, this study of 27 participants illustrates the importance of members’ ethnic community connection in the development of a national identity, and the dissimilar levels of social capital and subsequent participation in civil society by the two communities. This work analyses the role social capital within such migrant communities plays in members participation in their settlement society as well as in group’s ethnic identity maintenance. The theoretical framework of this work is influenced by the research of Berry (1997), Lucken (2010), Ager and Strang (2008) and Valtonen (1998; 2004). This study found there are much higher levels of social capital in the Bhutanese community compared to the Eritrean community. These disparate levels can be attributed to the differing demographics of the communities; the high levels of stress suffered by Eritrean members involved in the family reunification process; and the differences between the communities refugee experience prior to arrival in New Zealand. My findings also suggest that the process of national identification by migrants relies on strong connections between members’ and their ethnic community, not, as commonly assumed, participation in wider society. Importantly this work illustrates that social capital is necessary in the mobilisation of migrant communities. Grievances associated with settlement are not attended to on a community level unless there is a high degree of social capital within the community. This enables participation in civil society through the establishment of a representative community organisation, and members to cooperate with other sectors of wider society.

After the change of their country’s political and international statuses, post-colonial and respectively post-communist individuals and collectives develop feelings of alienation and estrangement that do not involve physical dislocation. Eventually, they start imagining their national community as a collective of individuals who share this state. Paraphrasing Benedict Anderson’s definition of the nation as an “imagined community,” this study identifies this process as “imagined exile,” an act that temporarily compensates for the absence of a metanarrative of the nation during the post-colonial and post-communist transitions. This dissertation analyzes and compares ten English Canadian and Romanian plays, written between 1976 and 2004, and argues that they function as expressions and agents of post-colonial and respectively post-communist imagined exile, helping their readers and audiences overcome the identity crisis and regain the feeling of belonging to a national community. Chapter 1 explores the development of major theoretical concepts, such as nation, national identity, national identity crisis, post-colonialism, and post-communism. Chapter 2 and Chapter 3 analyze dramatic rewritings of historical events, in “1837: The Farmers’ Revolt” by the theatre Passe Muraille with Rick Salutin as dramaturge, and “A Cold” by Marin Sorescu, and of past political leaders, in “Sir John, Eh!” by Jim Garrard and “A Day from the Life of Nicolae Ceausescu” by Denis Dinulescu. Chapter 4 examines the expression of the individual and collective identity crises in “Sled” by Judith Thompson and “The Future Is Rubbish” by Vlad Zografi. Chapter 5 explores the treatment of physical and cultural borders and borderlands in Kelly Rebar’s “Bordertown Café”, Guillermo Verdecchia’s “Fronteras Americanas”, Petre Barbu’s “God Bless America”, and Saviana Stanescu’s “Waxing West”. The concluding chapter briefly discusses the concept of imagined exile in relation to other investigations of post-colonial and post-communist dramas and reviews some of the latest perspectives of national identity, reassessing this study from a diachronic perspective.

This thesis is the result of an attempt to record, classify and develop an understanding of the motivations and dynamics in the design and realization of the buildings that explicitly or implicitly represent the Turkish identity abroad. In the meantime it is aimed to reflect on and identify the function of architecture and buildings in the formulation and representation of national identity. Besides the analysis of the meanings assigned to the architectural forms, one underlying intention was to clarify how different aspects of architecture and building processes could play roles in the construction and representation of national identity within the context of the embassies, monuments, exhibition pavilions and centers for cultural and religious purposes. During the analysis of these architectural works, basic mechanisms of the concept of identity and its repercussions in relation to physical milieus -i.e. its comparative nature, its reception by the others- are tried to be elaborated. Cases other than the Turkish case are referred to when necessary. Viewpoints of variety of actors in the realization of these works -i.e. architects, diplomats, statesmen and contractors- are analyzed to elucidate the similarities and differences of approaches. iv Besides the role of international relations, the dominant social, political and economic characteristics in different historical periods of Turkey and their implications on the buildings abroad are exposed by this study. Reactions of the architectural discourse in Turkey to those characteristics concerning the national identity, i.e. foreign architects, globalization, and promotion of architects by the state, are elaborated. While some themes are perennial at the discursive and formal level, variations of attitudes regarding the host context are observed in the study.

The issue of political integration has been one of the most contentious subjects in terms of the academic studies concerning European integration. Despite many researches have been conducted in the areas concerning institutional problems, enlargement or European security, the researches concerning the socio-political diemnsion of the politcal integration are still very rare. This thesis approaches to the issue of political integration from a socio-political perspective.The problematic of the EU citizenship, its impacts upon the European political identity and possible measures to reconstruct the EU citizenship in accordance with the imperatives of postnational citizenship have been analyzed in a multidimensional framework.In that respect, it has been asserted that, if the EU citizenship could be restructured in accordance with a postnational understanding, it would provide an accurate measure to develop the feelings of Europeanness among the masses and thus,many initial tensions obscuring the political integration would be gradually resolved.

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.

Thesis (M.A. of Arts)--Miami University, Dept. of Spanish and Portuguese, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 34-36).

This essay deals with the concept of national identity and the ways by which it is constructed at the time of a political decision. By analysing the opinion pages of some of the United Kingdom’s leading newspapers, the aim of this essay is to understand the different types of narratives of the British national identity that were most prominent during the time before the referendum on Britain’s membership in the EU. Essentially, the goal of the essay is to answer the question of what it meant to be British during the time of Brexit. The research in this essay shows that there were certain differences in the narratives presented by the Brexiteers and the Remainers, but also similarities in core values and to some extent the symbols and references used to argue their respective cause. The most divisive subject is shown to be the notion of the United Kingdom as a multicultural nation or not. Further interdisciplinary research is advised in order to gain a fuller, and more dynamic, understanding of the British national identity.

This project aims to develop and explore questions of theatre as public discourse and the representation of England and Englishness in contemporary British theatre during the period 2000-2010. I present a dual focus in this practice-led research process, creating an original creative work, Albion Unbound, alongside an academic thesis. I describe the relationship between play and thesis as ‘dialogic’ with reference to the work of Mikhail Bakhtin. His ideas on language, subjectivity and authorship offer an insightful perspective upon the theory and practice of theatre-making, but Bakhtin himself makes a concerted claim for drama’s inherent monologism, generically incapable of developing genuine dialogic relations between its constituent voices. Chapter One explores the ‘case against drama’ and identifies the different senses of theatrical dialogism which emerge in critical response. Chapter Two considers Bakhtin’s work around carnival, the grotesque and the history of laughter, framed within a debate about the ‘politics of form’ in the theatrical representation of madness and mental illness. A key division emerges between political, discursive theatre and experimental theatre, as I question the boundaries of Bakhtin’s ideas. Chapter Three questions the nature of political theatre and its British traditions via Janelle Reinelt and Gerald Hewitt’s claim that David Edgar represents the ‘model’ political playwright engaged in theatre as ‘public discourse’. I focus upon three-thematically linked of Edgar’s plays, Destiny, Playing with Fire and Testing the Echo to engage questions of the ‘state-of-the-nation’ play and Edgar’s varied formal strategies employed in constructing his dramatic worlds and the political discourse he seeks with an audience. Chapter Four extends this debate to question the alleged ‘return of the political’ in new writing between 2000-2010 and specifically a body of plays which engage issues of nation and identity – those plays contemporaneous to Albion Unbound. Chapter Five provides a reflexive conclusion, elaborating upon the creative, collaborative process of making Albion Unbound, accounting for its successes and failures as a piece of contemporary theatre. I also reflect upon the relationship of theory and practice the project has developed, the dialogic relationship between thesis and play. Chapter Six is the play itself, as it was performed.

Cette thèse examine le processus de construction, de projection et de performance d’un aspect de l’identité nationale australienne – l’Anzac et son rôle central dans le récit national – par le prisme de la mémorialisation de guerre à Villers-Bretonneux. Elle se penche sur les liens tangibles entre cette commune et l’Australie – en incluant, parmi d’autres dispositifs commémoratifs, l’Ecole Victoria, le mémorial national australien, le musée franco-australien, l’association franco-australienne et la commémoration de l’Anzac Day – et ce que ces liens révèlent à propos de la nature des pratiques commémoratives australiennes. Cette thèse met en lumière que la commune de Villers-Bretonneux a été utilisée comme une scène sur laquelle des versions changeantes du récit national australien ont été assemblées et mises en scène. A Villers, la réécriture de ce récit a été constante, en organisant le passé pour se définir, individuellement et collectivement, dans le présent. Par ailleurs, ce processus actif d’élaboration d’identité nationale australienne par le biais de la mémorialisation de guerre relègue souvent les soldats morts commémorés au second plan pour servir les intérêts présents de ceux qui les commémorent. Villers-Bretonneux est une commune inconnue de la grande majorité des Français. Pourtant, c’est au travers des commémorations de guerre dans cette commune d’un peu plus de 4,000 habitants que l’Australie a construit et nourri son interprétation de l’hommage des Français aux soldats australiens de la Première Guerre mondiale. Cette thèse met en lumière cet aspect essentiel qu’est l’altérité dans la validation d’images nationales par l’étude de l’importance que l’Australie a accordée à la validation française perçue de son récit national. / This thesis examines the process of assembly, projecting and performing an aspect of Australian national identity – Anzac and its central role in the national narrative – through the prism of war memorialisation at Villers-Bretonneux. It scrutinises the tangible ties between this town and Australia – including, amongst other forms of commemoration and commemorative devices, Victoria School, the Australian National Memorial, the French-Australian Museum, the French-Australian Association, and the commemoration of Anzac Day – and what these links reveal about the nature of Australian commemorative practices. The thesis argues that this village has been utilised as a stage upon which to engineer and perform changing representations of Australia’s national narrative. At Villers-Bretonneux there has been a constant rewriting of this narrative, managing the past to define oneself – collectively and individually – in the present. This active process of the development of the Australian national narrative through war memorialisation often relegates the commemorated dead soldiers to the background and serves, in their place, the present interests of those who commemorate. Villers-Bretonneux is a town unknown to the vast majority of French people and one to which even fewer ever travel. Yet, it is upon Australian war commemorations in this town of a little over 4,000 inhabitants that Australia has constructed its reportage of the French homage to Australian soldiers of the First World War and Australia. The thesis exposes this essential element of otherness in validating national images through an examination of the insistence on the perceived validation offered by the French.