The identity of the Koreans of the former Soviet Union has been shaped by a variety of factors, not the least of which was a long period of Soviet rule. Most frequently referred to as Koryo Saram in the region, they are distinctive in that they embody a mélange of Korean, Russian, Soviet and Central Asian characteristics. At first promoted as one of the many national minorities under the affirmative action-like Soviet nationalities policy, changes in the political sphere under Stalin ultimately led to their deportation to Central Asia in 1937. The Koryo Saram were subject to a variety of pressures at the hands of the state apparatus, including a complex and often contradictory nationalities policy, which often dictated that the they simultaneously assume a Korean and Soviet identity. This fact is most vividly displayed in the photographs of the period, which serve as historical documents that preserved these internal conflicts. This thesis examines not only the schism between the party rhetoric and the visual presentation of rhetoric from 1932 to 1941, but also the construction of Soviet Korean identity within this context. / text

This thesis aims to understand the formation of the Russian identity in the Kazakh Steppes by examining the migration flows of Russians and the affects of state policies and pattern of inter-ethnic relations between the Russians and the Kazakhs during different historical periods. Constructionist theoryhas guided the analysis of the research. The Russian identity formation in the Kazakh Steppes is examined within the contextof three consequtive historical periods that correspond to fundamental social, political and administartive re-structuring. Firstis the period of the Russiam Empire, during which the resettlement policy of the Empire shattered the traditional social structures of the native Kazakhs and entailed extensive inter-ethnic contact between the Russians and the Kazakhs. Second period corresponds to the period of the Soviet Union, which experianced the intensification of Russian settelments in the Kazakh Steppes. The soviet policy, while encouraging Russianness as a component of soviet identity, atthe same time, granted autonomy todiverse ethnic entites. The third period, which correspondes to the current era starting with the disintegration of the Soviet Union, witnessed the emergance of Kazakh State. A large portion of the Russian population in the Kazakh Steppes remained in the independent republic of Kazakhstan and face a new challenges in tearms of identity formation due to the Kazakh nation building policies.

In this thesis, the purpose is to analyze the path that the nation building process in Kazakhstan has been following in the post-Soviet period through examining the various policies implemented and the official rhetoric and discourses stated by the Kazakh policymakers. The ethno-symbolist approach of Anthony D. Smith and the views of Walker Connor and Willfried Spohn on nationalism and national identity have been utilized in the analysis of the research. The Soviet Nationalities Policy is examined to be able to better understand the post-Soviet nation-building, because the policies implemented under this comprehensive project, which had been outlined by the Bolsheviks, had deep political, cultural, demographic and linguistic impacts on the process in Kazakhstan. The ethnic situation has also been laid down in order to highlight under which ethnic circumstances the nation building process has been taking place. After analyzing the Constitution of the Republic of Kazakhstan, the post-Soviet policies about language, education, employment, culture and national symbols, the statements of the President Nursultan Nazarbayev and the move of capital, this study claims that post-Soviet nation building process and nationalism in Kazakhstan have both ethnic and civic components whereby the nation building process in Kazakhstan is a more ethnic process than it is civic.

This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.