The main purpose of this study was to explore how second-generation young adults with foreign background understand their ethnic identities and how they relate to their national identities. Semi-structured interviews with 7 second-generation young adults with foreign background were conducted. The basis for our analysis was social identity theory, identity theory and previous research. As the result shows, the participants in this study had developed an understanding of their ethnic identities in relation to their national identities based on influential factors. The influential factors that elicited these understandings of their ethnic identities in relation to their national identities were: influential people and cultural influences. On the basis of these influential factors, it had become easier for some participants to identify themselves more with their ethnic identities. However, for other participants, the understanding of their ethnic identities did not influence their feelings of belongingness to the host society, which means they have considered themselves to belong to both their ethnic and national identities. For those participants who could not identify themselves with both their ethnic identities and relate to their national identities chose to identify themselves with something else, which in this case religion.

in many daily forms of media we see the nation being represented by or alongside images. These images of the nation inform the way we see both others and ourselves. This thesis attempts to understand the way the nation is visualized, a topic that has been largely overlooked by theorists of nationalism. The visualization of the nation is explored by researching two national tourism campaigns in Croatia. Croatia was chosen as a case study in which to examine the visualization of the nation due to its recent accession into the European Union alongside the country’s economic dependence on tourism and its current attempts at rebranding. In order to achieve the aims of this research I ask two main research questions: 1. How is the nation visualized in Croatia through tourism advertising and by whom?, 2. How is this visualization received by members of the nation? These questions were answered by combining three methodological steps which consisted of a visual analysis of the images of the campaigns, interviewing those involved in creating the campaigns and other members of the design or tourism community, and finally photo elicitation interviews with members of the Croatian public. This research found that Croatia is often peripheral within these tourism campaigns. The nation is represented passively with the main focus of the advertisements being the experience of tourism. Croatia is merely the backdrop that these tourism activities are being advertised through. This passive representation of Croatia is a consequence of an industry that is focused on increasing tourism numbers and that relies heavily on marketing data. The representation of Croatia is not the aim of these tourism campaigns. The passive image of the nation is additionally the consequence of Croatia’s uneasy relationship with presenting something as national. National pride is often equated with violent forms of nationalism and therefore visual representations of the nation are often eliminated from the positive marketing images of the tourism campaigns. Both members of the nation and the industry downplay the importance of tourism advertising arguing that these images are solely for the tourist and therefore they are largely insignificant. However, I use du Gay’s (1997) concept of the ‘circuit of culture’ to argue that tourism advertising is not just influenced by national identity but rather it is also influencing national identity. These tourism campaigns contribute to the construction of national identity. Therefore, this passive image of the nation is not just for tourists, it is part of a circuit of identity construction that reaches far beyond the target audience. Overall, these tourism images are simplistic and reductive imitations of the nation while national identity is complex, inconsistent, and often contradictory. Branding and design often aims to condense identity into easily recognizable and quickly communicated images making any attempt to brand the nation inherently lacking. While this reductive identity is useful when branding a company or product, when applied to the nation ethical questions emerge about who has the right to construct the nation’s image. I argue that this new phenomenon of commercialized branding that is now a responsibility of the nation is evidence of the changing role of the nation from a modern construction to a postmodern brander. This opens up questions about the democratic nature of these tourism images and consequences of nation branding efforts that continue to represent the nation in reductive and passive terms.

The social and political history of Catalonia has long been dominated by debates about language, nation and identity and forty years of linguistic and cultural repression have impacted the sociocultural landscape of the region. The new millennium and new nationalist/gendered identities in the context of changing patterns of migration, growing multiculturalism and economic crisis have led to a resurgence of nationalism and renewed demands for Catalan independence since 2010. Adopting oral history as a central method, this thesis examines language, nation and identity from a gendered perspective and investigates to what extent women use Catalan in their everyday social practices to construct gendered and national identities. The focus of the study is three female 'generations' from one Catalan village. It covers 50 years of historical change from the 1960s to the present. The thesis explores women’s contribution to the preservation of Catalan language during Franco's regime (1939-75); how the emergence of a feminist movement and discourse, and changing patterns of migration, have transformed the relationship between gender and national identity in Catalonia; and the role that Catalan plays today in defining women's (individual) identities and as a nation-building tool. Previous research has not considered an intergenerational approach and this study addresses this gap. Drawing on theories of nationalism, gender and nation and language ideologies, I adopt a new analytical approach incorporating discourse analysis and small story research to examine the narratives of 40 oral history interviews and a corpus of social media data. In order to organise the diverse themes in my data I develop a spatial framework in which I identify three principal spaces: physical, ideological and temporal. Mainstream and political discourse exemplify the Catalan nation as civic, intercultural and tolerant. This study challenges these canonical beliefs. The findings reveal ethnolinguistic ideologies and a complex divergence/convergence of issues surrounding migration that are difficult to reconcile with official discourse. Specifically the findings provide insights into some of the issues of inclusion and exclusion that are absent in political and nationalist discourse and suggests that an increased understanding of cultural pluralism at a local level can be abstracted to the Catalan community as a whole.

Made available in DSpace on 2014-06-11T19:26:39Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-12-05Bitstream added on 2014-06-13T19:13:45Z : No. of bitstreams: 1 melo_cs_me_assis.pdf: 772808 bytes, checksum: 15be4de8b0251cbc544b635c498cb712 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O caipira desde os idos do século XIX foi amplamente representado sob formas diversas nas artes. Neste trabalho apresentaremos as representações da personagem caipira presentes num variado número de textos teatrais encenados na cidade de São Paulo, no período compreendido grosso modo pela Primeira República. Ingênuo, incivilizado, portador de uma linguagem diferenciada, são algumas das características dessa personagem; porém, a sua faceta de espertalhão, embromador, também se faz presente. Muitas vezes, é desse modo contraditório que o caipira aparece nessa produção teatral, como também eram contraditórios os desejos dos autores que o compunham. Seja na roça, no sertão ou na cidade o caipira traz à tona os impasses e dilemas de parte da elite letrada brasileira num período de construção da identidade nacional da jovem República. Analisaremos também, sumariamente, como algumas peças teatrais que trazem o caipira em suas tramas foram caracterizadas sob a designação de “teatro regionalista” em importantes obras da historiografia teatral brasileira. / The backwoods man since the end of nineteenth century was widely explored under a lot of ways in the arts. In this work, we will present the representations of backwoods man character in the great number of dramatic texts have played in São Paulo city, during the period between 1900 and 1930. Ingenuous, uncivilized, owner of a different speech, are some of characteristics of this character; however, the backwoods man was too smart and clever. Many times, this contradictory way was utilized to present these character, moreover, were contradictories the desires of their writers. As much in the roça or sertão, as in the city the backwoods man brought to the present the doubts and dilemmas of part of intellectual Brazilian elite during the period of identification construction in 1910’s and 1920’s. We will analyses, also, suminly up, lilke some plays which brought the backwoods man in scene, were classified under the designation of “regionalista” in important works of the brazilian theatrical historiography.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-06-19Bitstream added on 2014-06-13T19:03:25Z : No. of bitstreams: 1 corsi_ms_dr_assis.pdf: 1329512 bytes, checksum: 6a41ef9904009dd8b26191d43add26db (MD5) / Neste trabalho, averiguamos em que medida a identidade nacional forjada pelo Romantismo de José de Alencar pôde ser retomada (ou ampliada) no filme O Guarani (1996), de Norma Bengell. Através de um discurso essencialmente verbal, o romancista apresenta um contexto sócio-histórico-ideológico da nação brasileira, tendo na descrição da paisagem e na composição dos perfis do colonizador e do indígena alguns dos elementos-chave para a constituição da identidade do país. No filme, dispondo de recursos áudio(verbo)visuais, Bengell retoma os elementos componentes da construção da identidade nacional proposta por Alencar, com a focalização abrangente das matas, da silhueta do indígena e dos colonizadores. A partir de conceitos da Teoria da Literatura, da Teoria Crítica e da teoria bakhtiniana sobre a enunciação, propomos uma análise das imagens verbais e verbo-visuais do texto cinematográfico O Guarani em comparação com o romance homônimo de Alencar (1857). Nessa investigação, pautada especialmente nas leituras de Bakhtin (1992; 1997; 1998) e Adorno (1991), averiguamos se a transposição da linguagem alencariana para o cinema retoma e/ou amplia os elementos constituintes da identidade nacional proveniente da posição ideológica dos românticos. A nossa proposta procura compreender o modo como se efetua essa adaptação do discurso verbal para o discurso áudio(verbo)visual, na descrição e interpretação desses textos. A fim de esclarecer o funcionamento dos mecanismos discursivos e imagéticos acionados pela composição cinematográfica, analisamos a relação entre os enunciados do filme e a retomada de elementos constitutivos... / In this work, we inquire how much the national identity proposed by the romantic writer Jose de Alencar can be retaken or extended in the movie The Guarani (1996), by Norma Bengell. Through an essentially verbal speech, the novel writer presents a sociologichistoric- ideological context of the Brazilian nation. It is presented by the description of the landscape and the composition of the profiles of the colonizers and the indigenous people, and some of the key elements for the constitution of the identity of the country. In the film, making use of audio(verb)visual resources, Bengell retakes these elements of the national identity proposed by Alencar focusing it in the forests, on the indigenous people and on the colonizers. From concepts of the Theory of Literature, of the Critical Theory and the Theory of Bakhtin on articulation, we consider an analysis of the verbal images and verbappearances of the cinematographic text of The Guarani in comparison with the homonym romance of Alencar (1857). In this inquiry, based specially in the readings of Bakhtin (1992, 1997, 1998) and Adorno (1991), we inquire if the transposition of Alencar's language retakes and/or extends the constituent elements of the national identity proceeding from the ideological position of the romantic ones. Our proposal looked for to understand how this adaptation of the verbal speech to the audio(verb)visual speech occurs, in the description and interpretation of these texts. In order to clarify the function of the mechanisms of the speech and mechanism of image set for the cinematographic composition, we analyze the relationship between... (Complete abstract click electronic access below)

This thesis focuses on national identity, constructed and represented in Poland’s media, and analyzes three daily newspapers which are diverse in their orientations as follows: Catholic Nasz Dziennik, pro-establishment business-conservative Rzeczpospolita, and independent center-left Gazeta Wyborcza. The research questions are how Gazeta Wyborcza, Nasz Dziennik, and Rzeczpospolita constitute national identity in content and what differences there are in identity construction in Gazeta Wyborcza, Nasz Dziennik, and Rzeczpospolita. The method is quantitative content analysis. It was found out that the Polish media employ a broad spectrum of identity construction strategies which could be defined as identification with and antagonizing from the European Union, redefining and creating new meanings of past events. The prevalent identity represented in the media is an identity of a civic and law-abiding democratic society. This identity is an outcome of political struggles in the country since 1989. The differences between three media types are minor: the media lack one established identity agenda and media content tends to depict the national identity as ambivalent. / <p>SPSS file https://drive.google.com/file/d/1GneVcb7iv2z0tUEIeNCAjJm6gQBPeJk7/view</p>

Nosso estudo procura mostrar o possível papel da obra de Ardengo Soffici na formação do pensamento estético de Mário de Andrade, sob a perspectiva da identidade artística nacional. Considerando o contexto histórico no qual os dois intelectuais operaram, em que se assistiu à afirmação e o desenvolvimento do nacionalismo na Itália e no Brasil, tentamos apresentar como o problema da identidade artística nacional se manifesta dentro da formação artístico-literaria dos dois escritores. A partir das obras de Soffici presentes na biblioteca de Mário de Andrade, acompanhamos a leitura crítica que o intelectual brasileiro fazia dos textos de Soffici; de maniera específica, estudamos o conceito de futurismo assim como se desenvolve nas obras teóricas Primi principi di una estetica futurista (1920) e em A Escrava que não é Isaura (1925) e, tendo em vista a relacão entre modernidade e tradição e aquela entre cosmopolitismo e nacionalismo, analisamos alguns poemas de Pauliceia desvairada (1922) e de BIF&ZF+18. Simultaneità e Chimismi Lirici (1919). A seguir, buscamos apresentar, na crítica de arte de Ardengo Soffici e Mário de Andrade, o desenvolvimento do problema da identidade artística nacional ao longo da primeira e da segunda década do século XX e sua evolução durante a época da ditadura na Itália e no Brasil. / The possible role of Ardengo Sofficis work in shaping Mário de Andrades aesthetic thought, from the perspective of a national artistic identity, was reviewed. The historical context in which these two intellectuals operated sees the development and affirmation of nationalism in Italy and Brazil. We present how the problem of national artistic identity manifests itself within the artistic and literary formation of the two writers. From the works of Soffici kept in Mário de Andrades library, we analyze the critical reading the Brazilian intellectual made of Sofficis texts. In particular, we study the concept of futurism as it develops in the theoretical works Primi principi di una estetica futurista (1920) and in A Escrava que não é Isaura (1925) and we analyze some poems of Pauliceia desvairada (1922) and BIF&ZF+18. Simultaneità e Chimismi Lirici (1919), considering the relationship between modernity and tradition and between cosmopolitanism and nationalism. This work discusses the question of national artistic identity in Ardengo Soffici and Mário de Andrade writings as art critics during the first and the second decade of the XX century and its evolution during the dictatorship in Italy and Brazil.

Orientador: Sírio Possenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T01:44:00Z (GMT). No. of bitstreams: 1 Vilela-Ardenghi_AnaCarolinaNunesdaCunha_D.pdf: 4116045 bytes, checksum: 91005fd1da4528800d994be24c8a0652 (MD5) Previous issue date: 2014 / Resumo: A partir do modo de circulação da cristalização do que chamamos aqui de espaço nacional, este trabalho debruçou-se sobre o estudo dos estereótipos, assumidos não como algo "engessante" ou redutor, mas como uma regularização, efeito de retomadas, paráfrases e repetições que levam ao "esquecimento" da origem enunciativa. Entendemos o espaço nacional como uma paisagem "típica" associada a um país, ou, em outros termos, aquilo que é tomado como sendo a melhor representação do espaço físico desse país. No caso brasileiro, historicamente, a imagem construída é a do próprio "paraíso terreal" e ela tem particular importância na medida em que, como aponta Chauí (2006), funciona como um "mito fundador", uma narrativa que não cessa de ser retomada e que impõe um vínculo interno com um passado de origem que, paradoxalmente, nunca cessa de existir, mantendo-se sempre perene. O corpus reunido para esta pesquisa ¿ proveniente do turismo e da moda ¿ atesta essa perenidade. Para analisá-lo, mobilizamos, de início, o conceito de pré-construído que, conforme sugerem Amossy & Pierrot (2005), é um aporte teórico importante ¿ e talvez insuficientemente explorado ¿ para o estudo dos estereótipos do interior do quadro teórico-metodológico da Análise do Discurso (AD). Embora tenha, de fato, mostrado ser um conceito relevante para a apreensão do modo de funcionamento dos estereótipos, os dados provam também que não pode haver uma relação direta ¿ ou exclusiva ¿ entre estereótipos e pré-construídos. Para além destes, os estereótipos relacionam-se, como mostram as análises do corpus, a simulacros e cenas validadas (Maingueneau, 2002). Do ponto de vista metodológico, a apreensão do corpus reunido suscitou um conjunto de reflexões em torno da proposta de Maingueneau (2006) para a noção de formação discursiva enquanto uma unidade não tópica de análise / Abstract: From the circulation mode of crystallization of what we here call a national space, this work focused on the study of stereotypes, undertaken not as something "limiting" or as a reducer, but as a regularization, due to retakes, paraphrases and repetitions that lead to "oblivion" of the original enunciation. We understand the national space as a "typical" landscape associated with a country, or, in other terms, that which is taken as being the best representation of the physical space of this country. In the Brazilian case, historically, the image is built from the "earthly paradise" and it is of particular importance to the extent that, as observed by Chauí (2006), works as a "founding myth", a narrative that does not cease to be retaken and imposing an internal link with a past of origin which, paradoxically, never ceases to exist, remaining perennial. The corpus assembled for this study ¿ from tourism and fashion ¿ testifies this perpetuity. To analyze it, we mobilized, at first, the concept of pre-construed, that, as suggested by Amossy & Pierrot (2005), is an important theoretical contribution ¿ and perhaps insufficiently explored ¿ for the study of stereotypes within the theoretical methodological framework of Discourse Analysis (DA). Although, in fact, shown to be a relevant concept for the apprehension of the mode of operation of the stereotypes, the data prove also that there cannot be a direct ¿ or exclusive ¿ relationship between stereotypes and the pre-construed. In addition to these, stereotypes relate, as shown by the analysis of the corpus, the simulacra and validated scenes (Maingueneau, 2002). From the methodological point of view, the gathering of the corpus brought about a set of reflections around the proposition of Maingueneau (2006) for the notion of the discursive formation as a non topic analysis unit / Doutorado / Linguistica / Doutora em Linguística

This study aims to answer two interlinked central questions with respect to Montenegrins’ divide over statehood and identity: Why and how Montenegrins, whom were once called ‘the purest and the best of Serbs’, sought to end their century-long common state experience with Serbia and instead establish their own nation-state in 2006, and what explains the rise of Montenegrin national identity and its transformation into nationalism? In attempting to answer these questions, it traces the historical development of Montenegrin national thought dating back to the early 20th century when Montenegro was annexed by the Kingdom of Serbs, Croats, and Slovenes. Through the use and examination of opinion polls, newspaper articles, political and ethno-cultural state policies implemented by the ruling political elites, and their interviews, public speeches, and press conferences, this study also seeks to unveil how Montenegrin-ness evolved over time. The central argument running through this thesis is that Montenegrin nationalism as a political phenomenon was precipitated through elite competition. In their competition over social, political, or economic resources, the Montenegrin elites, through the implementation of political and ethno-cultural state policies and the active use of media outlets, managed to turn certain facts and events into points of reference for the citizens of Montenegro in the way they identify themselves. Thus, those events have become the basis of people’s belonging to a certain community and helped demarcate that specific community (Montenegrins) from that of Serbs. Backed by the reconstructed meaning of Montenegrin-ness, this emerging Montenegrin national consciousness facilitated the breakup with Serbia and the declaration of independence on 21 May 2006.

The Grand Tour is known to scholars as a significant period of travel in which members of English society could immerse themselves in the foreign, while also adhering to established social customs. Scholarship previously regarded the Grand Tour as an intellectual journey for aristocratic Englishmen; however, an incorporation of women into this narrative has introduced many new and important themes that merit further study. Women’s increasing participation in the Grand Tour, which gained in popularity in the eighteenth century, reveals many unique aspects of British society in the period. The integration of women into the Tour is also an indication of increased mobility for an emerging class of Britons who sought amusement and distinction abroad. Cultural identity played an active role in not only shaping the traveler’s experience but also in dictating how travelers represented themselves on their journey. Traveler’s served as cultural intermediaries that represented their country while abroad and transported aspects of the foreign societies they encountered home with them. While cultural identity certainly shaped perceptions of travelers, this work endeavors to bring into focus additional points of analysis and emphasize emerging areas of study. The appropriation of foreign objects and the significance of their integration into domestic life and social practices, the pursuit of amusement and that pursuit’s influence on the Tour experience, and the essential role played by the body as another category of experience in travel are all areas of interest and focus in this additional interpretation of the Grand Tour.