Abstract The rise of competing nationalisms in Cyprus first drew world attention in the 1950's, yet the origins of nationalism in Cyprus can clearly be traced to the closing stages of Ottoman rule on the island during the nineteenth century. While the earlier development of nationalism in the Greek Orthodox community of Cyprus is commonly acknowledged, the pre-World War II evolution of nationalism amongst Cyprus' Moslem Turks is consistently overlooked or misrepresented. Contrary to the conventional wisdom, this work contends that Turkish nationalism in Cyprus did not first emerge in the 1950's, but instead grew gradually from the late nineteenth century onwards; that nationalism amongst the island's Turks was first discernible in a 'civic' form founded on Ottomanism which was gradually, though progressively replaced by Turkish ethno-nationalism; and that while both British colonial policies and especially the threat perceived from the rise of Greek nationalism on the island may have helped spur nationalism amongst the Turks, the continued cultural and political interaction with Ottoman, and even non-Ottoman Turks, and later with the Turkish Republic was at least as influential in fostering nationalist sentiments and prompting their expression in political actions. While particular note is made of the often neglected impact of the Young Turk movement in the early twentieth century, this study acknowledges and seeks to elucidate a complex assortment of variegated stimuli that ranged from international developments, such as the recurring crises in the Balkans and President Wilson's speech on the 'Fourteen Points', to the personal attitudes and attributes of British administrators and domestic inter-ethnic relations, and local and international economic trends and developments. Together, it is maintained, these influences had made Turkish nationalism a perceptible phenomenon amongst the Turks of Cyprus by the time of the October Revolt of 1931.

This study explores the visual consumption of food and its meanings through the study of narrative and nostalgia in a selection of five South African cookbooks. The aim of this study is to suggest, through the exploration of various cookbook narratives and the role that nostalgia plays in individual and collective identity formation and maintenance, that food, as symbolic goods, can act as a unifying ideology in the construction of a sense of national identity and nationhood. This is made relevant in a South African context through the analysis of a cross-section of five recent South African cookbooks. These are Shiny happy people (2009) by Neil Roake; Waar vye nog soet is (2009) by Emilia Le Roux and Francois Smuts; Evita’s kossie sikelela (2010) by Evita Bezuidenhout (Pieter-Dirk Uys); Tortoises & tumbleweeds (journey through an African kitchen) (2008) by Lannice Snyman; and South Africa eats (2009) by Phillippa Cheifitz. In order to gain an understanding of cookbooks’ significance in modern culture, it is necessary to understand that cookbooks – as postmodern texts – carry meaning and cultural significance. Through the exploration of cookbooks, as material objects of culture, one is also able to explore non-material items of culture such as the society’s knowledge, beliefs and values. Other key concepts to this study include the global growth of interest in food; the shift from the physical consumption of food to the visual consumption thereof; the roles that consumption, narrative and nostalgia play in constructing and maintaining personal and collective identities; and the role of food as a unifying ideology in the construction of a sense of nationhood. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Visual Arts / unrestricted

Diploma thesis "Media as an Agent of National Self-Confidence: Analysis of the Victory of the Czechoslovak Ice Hockey Players at the 1947 World Championship" deals with the reflection of the major sport event in the Czechoslovak media and how this reflection inspired the audience. The goal of this diploma thesis is to describe the dependance between the media coverage and the national self-confidence, which results from the national identity. Therefore, I focused on the chosen newspaper titles to analyze the content they produced during the 1947 Ice Hockey World Championship. I defined a hypothesis, based on observation and scholarly literature, that the media used the coverage to strengthen the national self-confidence and redefine the national identity. My second hypothesis was the idea, that this kind of coverage led to an active response among the audience. Before I started analyzing the three chosen titles (Lidova demokracie, Rude Pravo, Prace), I delivered complex structure of theoretical concepts, describing the influence media have towards the audience and also reasons why the members of the audience use media in their everyday life. I also focused on the historical and political context, as well as the media landscape that shaped the content of that time. I conducted the analysis and...

The purpose of this study is to address the way in which several quite varied and often commodified representations of L. Frank Baum’s The Wonderful Wizard of Oz (1900) express and reproduce shifting notions of national identity within American culture across the twentieth century and at the beginning of our own. This thesis pursues the question of national identity that the American myth perpetuates throughout the twentieth century and examines the shift in citizenship through representations found in popular culture’s re-writings of the Wizard of Oz tale. This thesis evaluates both original and contemporary adaptations of the Oz story and their deconstruction for sociohistorical representations of racial, gendered, class, and national identity. I argue, that the numerous historical and ideological comparisons from the Oz tale reflect our own world in our discussions of identity, race, class, and gender and have become significant reflections of our own imaginations and national identity.

This work is a socio-historical study of the roots of Sahrawi national identity. The Sahrawi are a community of people who live in the Western Sahara, a former Spanish colony. Most of its territory has been occupied since 1975 by Morocco, which denies the existence of a distinctive population inhabiting the Western Sahara. In contrast, the POLISARIO Front, vanguard of the Sahrawi nationalist movement, argues that the Western Sahara belongs to the Sahrawi and seeks its full independence. It bases its claims on the notion of a distinctive history, language, and culture for the Sahrawi, separate from that of Moroccans. The central question of this study asks, “What are the origins of Sahrawi national identity?” This study provides a detailed account of Sahrawi identity formation and how it has developed in intensity and scope. It renders a clear understanding of the Sahrawi phenomenon, useful to the international community in its deliberations on the validity of their nationalism. This study examines the foundation of Sahrawi identity through three different theoretical lenses, namely, primordialism, instrumentalism, and constructivism. The study analyzes arguments derived from each of these theoretical approaches, acknowledging the diversity of arguments about the sources of national identity. This study also demonstrates how a national identity can develop over a long period of time as a succession of layers. This study locates the final moment of Sahrawi identity formation in the twentieth century, but adds that this conclusion utilizes essential markers of differentiation that persist over time—the building blocks of any national identity.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Los arquetipos son esquemas innatos que se encuentran en el inconsciente colectivo y ayudan a entender el mundo. El psicoanalista Carl Gustav Jung teorizó y propuso diversos arquetipos de la personalidad que hoy son utilizados en la publicidad. Por otro lado, la peruanidad resulta difícil de definir, a pesar de que, además de Víctor M. Andrés Belaúnde (quien acuñó la palabra y teorizó sobre ella), diversos autores y pensadores hayan abordado el tema de lo peruano. Ello se debería a que esta pertenece a un imaginario, un ideal, un mito, un discurso. En el presente artículo se buscará identificar, relacionar y analizar los arquetipos de Jung empleados en los discursos sobre peruanidad en los pots de Facebook de las marcas fast food KFC y Bembos en el Perú durante el año 2019. Para ello, se realizó una recopilación general de los principales y diversos discursos sobre peruanidad, encontrándose 5 perfiles de lo peruano; y, finalmente, se definieron los 12 arquetipos de Jung empleados en la teoría publicitaria. / Archetypes are innate schemes found in the collective unconscious and help to understand the world. Psychoanalyst Carl Gustav Jung theorized and proposed various archetypes of personality that are used in advertising today. On the other hand, peruvianness is difficult to define, even though, in addition to Víctor M. Andrés Belaúnde (who coined the word and theorized about it), various authors and thinkers have addressed this issue. This is because it belongs to an imaginary, an ideal, a myth, a discourse. This article seeks to identify, to relate and analyze Jung's archetypes used in the peruvianness discourses of the fast food brands KFC and Bembos in Peru during the year 2019. For this, a general compilation of the main and various discourses of peruvianess was made, finding 5 profiles of the Peruvian; and, finally, the 12 Jungian archetypes used in advertising theory were defined. / Trabajo de investigación

In this thesis, depending on Benedict Anderson’s Studies of nationalism in his book The Imagined Communities, I will prove that in her historical fiction for children, Wondrous Journeys in Strange Lands, the Palestinian writer Sonia Nimr is reviving and reforming Arab national identity. Anderson identifies the nation as a group imagined by its members; the people who perceive and identify themselves as equal members in this group. For the people to imagine their nation, Anderson states three tools: the map as a representation of the geographical space, the census as a representation of population identity categories that live in a particular land, and the museum as the representation of historical and the legal continuity of certain ethnicities in a certain geographical space. The three tools are thoroughly abstracted and used in Nimr’s book as we follow the footsteps of Nimr’s heroine in her travels, we see her drawing Arab historical map, when Palestine was a canton in the great Arab State. The social fabric Nimr weaves by the characters in her book reflects the real and the reformed census of Arab ethnicities and their social classes with the highlighting of the essential role of Arabic women in society. The narrated society of Nimr’s work reforms nation’s census which accords with the extended pan Arab geography of Arab nation. The nation imagining requirements are completed by visiting the history and wandering in the historical Arabic cantons and cities which materialize Nimr’s trail to perpetuate those important places in her textual museum, which she builds in her addressed work to children to answer their question about who we are and how we are the most eligible ethnicities to live on this land. Nimr does not promote a certain political agenda nor casts a holy cover on the past; by contrast, she teaches Arab children past lessons to revive and reform their modern Arab national identity as a remedy for the catastrophic national present.

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This master's thesis examines the shaping of the collective Yugoslavian identity after World War II, utilizing the construction of post-war socialist monuments. The thesis outlines the relationship between monuments and memory politics of the state, focusing on the critical period of modernist memorial construction in the 1960s and 70s. At that time, the monuments were part of an ideological program that sought to create an official interpretation of war events to gain control over society. The thesis includes the historical context, which describes the development in the construction of monuments from the end of World War II to the disintegration of Yugoslavia. It examines the extent to which the monuments were linked to tourism, leisure, and spirituality, as well as the role of the veteran organization S(U)BNOR. Part of the research is devoted to places that did not resonate with the official narrative. All of the above is then demonstrated on specific examples in Serbia: Kragujevac, Niš, Kruševac, Kosmaj and Kadinjača.