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This study argues that nationalism is concerned not only with relations and differences between rival nations, but is also related to questions of class, power, and representation within nations. It explores the development of a conservative form of nationalism in England which, following Edmund Burke's Reflections on the Late Revolution in France (1790), elaborates a defence of the hegemony of the aristocracy, in response to the increasing economic and cultural power of the middle class, born of the rapid growth of commercial and industrial economy. Literature is central in the development of this nationalism, and writings by Coleridge, Wordsworth, Scott, Disraeli, and more briefly, Dickens are considered. There are two distinct images of nationhood in England in the period. These are on the one hand a vision of nationhood which links the nation to the existence of a public, a residual aristocratic ideal of the nation which is defined within the terms of the discourse of civic humanism, and on the other hand a vision of England which identifies English nationhood with rural society, village community, and the private and domestic space of the home; an ideal of the nation which emerges in relation to commercial and industrial culture, and which becomes identified with the middle class. These two ideals of nationhood become the focus of a struggle of representations between aristocracy and middle class. The tensions which this struggle between these conflicting images of the English nation creates are explored, considering their implications for the politics and representation of national, class, and gender identities. This study demonstrates that debates about the movement from a landbased pre-industrial to an industrial society are framed within a broader debate about the nature and meanings of Englishness and English nationhood. The relationship of this nationalism to developing discourses of imperialism is also explored.

This dissertation examines identity formation among evangelical Protestants in contemporary Ukraine. The overarching question is this: how do Ukrainian evangelicals view themselves and their churches in the context of Ukrainian regionalism, Ukrainian nationalism, and religious transnationalism? This question demands a closer look at Ukrainian regional variation, the status of Ukrainian national identity among evangelical practitioners, and the process of religious transnationalism, including how evangelicals perceive the West. This project is primarily based on qualitative research methods carried out over a ten month period. Field methods included participant observation, focus group interviews, and individual interviews. A set of maps produced by research subjects is also evaluated. In order to permit a regional comparison, case study churches were selected in four Ukrainian cities. Before beginning the field research it was hypothesized that Baptists, those evangelicals whose religious roots date to the nineteenth century and who survived the Soviet Union, would have different perspectives on many of the research questions than members of churches founded recently by American missionaries. To test this assumption, one Baptist church and one new evangelical church were selected in each of the four cities. Among Ukrainian evangelicals, regionalism is closely related to language preference and to notions of national identity. Members of churches in Lviv are strong supporters of Ukrainian-only language practices; members of churches in other parts of the country identify themselves as Russian speakers who dislike the exclusive language policies in western Ukraine. Study participants generally rejected a Ukrainian nationalism that was connected to religion, although members of new Protestant churches incorporated aspects of civic nationalism into their religious practice. In terms of their participation in a transnational religious network, all churches (both older Baptist and newer evangelical) were highly integrated with people, ideas, and money from the West. However, evangelicals views towards the West and their own identities as transnational actors were correlated to church type. Members of older Baptist churches were much more critical of Western churches and missionaries than were members of new evangelical congregations.

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This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. In this dissertation I focus upon how selected films provide insight into the ideological discourse of the 1990s within the Serbian socio-political and cultural context. I discuss a range of Serbian films produced during the 1990s, and I analyse in detail several films, in particular Pretty Village, Pretty Flame (Lepa sela, lepo gore, Srdjan Dragojevic, 1995) and Wounds (Rane, Srdjan Dragojevic, 1998), in which I focus on the depiction of nationalist and religious elements in the films. I analyse cinematic representations of the nationalist-religious ideology, its characteristics, impacts and promotion. On the basis of this analysis I consider the extent to which these cinematic representations are subversive. My dissertation has seven chapters. In chapter 1, which is an introduction to the thesis, I state my research questions and methodology. In chapter 2 I discuss the research context and I consider literature relevant to my research. Since I am basing my research upon different fields, I divide this chapter into three parts: the first one is devoted to the field of film and religion in which I position this study; the second part is on the literature that I used for the exploration of the socio-political context of the 1990s; and the last part is devoted to literature written on Balkan, Yugoslav and Serbian cinema. In chapter 3 I provide an analysis of the Serbian socio-cultural and political context of the 1990s. Chapter 3 is divided into eight parts, in which I primarily focus on the creation, characteristics and impacts of the nationalist-religious ideology. This discussion includes an analysis of the interaction between the Church and the state in the promotion of this ideological discourse. This chapter is important for the further analysis of Serbian film, its contextualization, and understanding the main issues which films communicated. In chapter 4 I analyse Serbian films produced during the 1990s. In the first part of this chapter, and for the purpose of contextualization of Serbian film, I first briefly discuss the cinematic tradition of former Yugoslavia: the Black Wave movement. I move on to discuss the cinematic context of the 1990s and the films produced over this period of time. I particularly focus on several films which dealt with the political-ideological context of the 1990s. I discuss the most significant films which dealt with the war, violence, ideology and the collapse of Serbian society under the Milosevic regime. The aim of this chapter is to provide a cinematic context for the analysed films and a clearer understanding of Serbian film of the 1990s as politically engaged cinema. Chapter 5 is devoted to the film Pretty Village, Pretty Flame while in chapter 6 I analyse the film Wounds. I analyse these two films separately because of their unique depictions of the nationalist-religious ideology. Both chapters are structured the same way and are divided into two major parts. In the first part of each chapter I consider the film's plot, its genre and its production, as well as discussing the film's critical reception. In the second part of each chapter I analyse the film narrative and images. At the end of each chapter I discuss the results of my analysis. Chapter 7 is the last chapter of my thesis and is devoted to the conclusion. In this final chapter I discuss the findings based on the cinematic and contextual analysis in the previous chapters. As part of my final remarks, I outline the contributions this study has made and future research that can be developed on the basis of this thesis.