Este trabalho tem por objetivo analisar a construção da identidade nacional a partir da obra de Graça Aranha no período de 1921 a 1931. No ano de 1921, Aranha se estabeleceu no Brasil depois de realizar alguns trabalhos na Europa, participando dos debates no âmbito artístico e literário nacional. Nesse período publicou livros, conferências, ensaios e artigos defendendo sua visão do que constituiria a identidade nacional. Para delimitar essas características, o autor propõe inserir o Brasil na modernidade. Aranha elaborou uma definição para o significado de moderno, estudado nesta pesquisa em relação às ideias divulgadas a partir de 1870 e a delimitação entre o antigo e o moderno. A nacionalidade era buscada para definir a singularidade do Brasil e, a partir dessa, poder inserir-se em uma ordem universal. Assim, na década de 1920, formou-se um debate sobre o que significava ser moderno. Alguns pensadores propunham diferentes noções de modernidade, ocorrendo uma disputa também em torno desse termo. As fontes principais desta pesquisa são os textos escritos por Aranha, mais especificamente o conjunto de ensaios A Estética da Vida (1921), um estudo das correspondências entre Machado de Assis e Joaquim Nabuco (1923), o conjunto de conferências e ensaios Espírito Moderno (1924) e a autobiografia Meu próprio romance (1931). Entendendo que a identidade nacional não é uma essência, mas um discurso através do qual se representa essa nação, discurso que inclui, exclui e estabelece práticas sociais, será utilizado o conceito de representação1 como abordado por Chartier (1990) e Bourdieu (1989). As disputas que surgem em torno dessas delimitações serão trabalhadas a partir do viés das lutas de representações. / This work aims to analyze the construction of national identity in the work of Graça Aranha between the period of 1921 to 1931. In the year 1921 Aranha is established in Brazil after performing some work in Europe, participating in debates in the national, artistic and literary sphere. In this period he published books, lectures, essays and articles defending his vision of what constitutes the national identity. To define these characteristics he proposes to insert Brazil in modernity. Aranha elaborated a definition for the meaning of modern, studied in this research in relation to the ideas spread from 1870 and the delimitation between the old and the modern. The nationality was sought to define the uniqueness of Brazil and, from this singularity, it could be inserted into a universal order. Thus, it formed a debate about what it meant to be modern. Some thinkers proposed different notions of modernity, occurring a dispute also around this term. The main texts analyzed will be the entirety of essays A estética da vida (1921), a study of correspondences between Machado de Assis e Joaquim Nabuco (1923), the set of essays and lectures Espírito moderno (1924), and the autobiography Meu próprio romance (1931). Understanding that national identity is not an essence, but a discourse through which represents this nation, a discourse that includes, excludes and establishes social practices, we will use the concept of representation as defined by Chartier (1990) and Bourdieu (1989). Disputes that arise around these boundaries will be studied from the concept of struggle of representations.

Le cinéma taiwanais est connu grâce à quelques réalisateurs récompensés dans les festivals occidentaux : Hou Hsiao-hsien, Edward Yang, Ang Lee et Tsai Ming-liang. Ces réalisateurs se distinguent par leurs spécificités esthétiques et leur interrogation sur l’identité taiwanaise. Ces réalisateurs qui ont commencé leur carrière dans les années 1980-1990 sont-ils cependant les premiers ? En quoi ces réalisateurs de ce que l’on a appelé le Nouveau Cinéma diffèrent-ils de leurs aînés ? Cette présente étude se propose de retourner aux origines du cinéma à Taiwan : depuis son introduction par les colons alors que l’île vient d’être cédée au Japon en 1985, jusqu’à nos jours où le cinéma, après une période de crise, semble connaître un regain de succès local alors que le rapprochement avec la République Populaire de Chine se fait de plus en plus concret. Cette étude s’interroge sur le processus de construction d’un cinéma national quand ce dernier a d’abord été contrôlé par les colons japonais de 1895 à 1945, puis est passé sous l’autorité du parti nationaliste chinois (KMT). Malgré cette industrie sous surveillance, un cinéma dissonant et populaire – en particulier le cinéma en hoklo dans les années 1960 – s’est développé et a instillé un discours contredisant le discours dominant du KMT. A travers l’étude de l’écriture de l’histoire du cinéma, de la représentation dans les films du territoire, de l’Histoire et de la société, il s’agit de comprendre comment prend forme une identité non pas unique mais plurielle et en évolution constante. / Taiwan cinema is famous thanks to a small and select group of directors, including Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, who had been and are still awarded in Western festivals. But how different from the older generation are these directors who started their career during the 1980-1990 amid the New Cinema movement? This study aims to return to the origins of cinema in Taiwan: since its introduction by the Japanese shortly after the island was conceded by the Chinese Empire to Japan, until today, when Taiwan cinema has regained success after years of crisis at a time when a closer relationship with the People’s Republic of China seems to threaten Taiwan’s position. This study questions the process of a national cinema building momentum, firstly from 1895 to 1945, when the Japanese colonial government controlled the film industry, and in subsequent years under the scrutiny of the Chinese Nationalist Party (KMT). Despite being under heavy censorship and control during this period, a dissonant cinema developed, most notably the Hoklo language cinema of the 1960s, and instilled a counter-discourse opposed to the dominant KMT narrative. This study focuses on the writing of film history and on the representation of territory, history and society through films. It seeks to understand the processes by which Taiwan has built its identity through film; an identity defined by its plurality, its competitive views and its dynamic nature.

abstract: The union between England and Scotland, which created the United Kingdom of Great Britain, generated heated discussion both before and after the Acts of Union took effect on May 1, 1707. Members of Parliament, the nobility, clergymen, pamphleteers, and authors from both nations participated in debates on the Union, in many kinds of writing, for many years after 1707. The voices of British women, however, have not been sufficiently considered in our scholarship, and are often conspicuously absent from our accounts of these polemical wars, which were still raging in the late eighteenth and early nineteenth centuries. This dissertation seeks to fill this gap in the academic conversation by taking Scottish, English, and British nationalisms as its theoretical paradigm in approaching writing by female authors. The dissertation's chapters examine how the Anglo-Scottish Union figures in the works by five women writers (Jane Austen, Cassandra Cooke, Dorothy Wordsworth, Mary Brunton, and Susan Ferrier) publishing from 1780 to 1820. I argue that, in the aftermath of the Union, these women writers often expressed specifically gendered concerns— such as the maintenance of social etiquette, better education for women, making sense of national prejudices, and the erasure of regional socio-economic differences. In doing so, they ranged beyond a typically masculine focus on parliamentary politics, international military endeavors, macro economy, and national churches. English women writers' attitudes towards the Union were more positive than those entertained by Scots authors, but compared with contemporary male writers, both sides were less optimistic about the potential for building a blanket national identity for the entire Kingdom. Taken together, the chapters of the dissertation provide a more comprehensive view of how the Anglo-Scottish Union figured in the minds of Britons, male and female, a century after its establishment, when the Kingdom was going through the Napoleonic Wars and another union with Ireland. The dissertation enriches our research on women's use of literary genres and techniques when taking part in political debates. It also serves to point out the need for more extensive surveys of the nuances of individual women writers' national affiliations. / Dissertation/Thesis / Doctoral Dissertation English 2016

abstract: This dissertation focuses on the incorporation of twenty first century mixed-status families, living in Phoenix, Arizona and Central Mexico. Using a combination of research methods, chapters illustrate patterns of immigrant incorporation by focusing on well-being, community reception, and national identity. First, results of mixed-method data collected in Phoenix, Arizona from 2009-2010 suggest that life satisfaction varies by integration scores, a holistic measure of how immigrants are integrating into their communities by accounting for individual, household, and contextual factors. Second, findings from qualitative data collected in Mexico during 2010, illustrate that communities receive parents and children differently. Third, a continued analysis of qualitative 2010 data from Mexico, exhibits that both parents and children identify more with the U.S. than with Mexico, regardless of where they were born. Together these chapters contribute to broad concepts of assimilation, well-being, community reception, and national identity. / Dissertation/Thesis / Doctoral Dissertation Justice Studies 2016

abstract: A Japanese national identity is generally thought to have originated in the 17th century, with the advent of the Kokugaku movement. I will argue that there is earlier evidence for the existence of a Japanese national identity in the Kumano Nachi mandalas of the Kamakura and Muromachi periods. These mandalas employ the Nachi waterfall as a symbol of the strength and power of the Japanese land, counterbalancing Chinese Buddhist visual motifs. In this paper, I further assert that these mandalas are an early example of an artistic tradition of painting specific landscape features as symbols of a Japanese national identity, and that this tradition continues into the modern period. / Dissertation/Thesis / Masters Thesis Art History 2017

Orientador: José Luis Bendicho Beired / Banca: Carlos Alberto Sampaio Barbosa / Banca: Maria Helena Rolim Capelato / Resumo: Na Argentina - principalmente no final do século XIX - foi freqüente a utilização da etnicidade pelas elites intelectuais como uma das maneiras de formular questões pendentes ao processo de formação da pátria. Os cientificistas argentinos utilizaram-se, muitas vezes, de apelações biologistas e de concepções do darwinismo social, produzindo a teoria do "crisol de raças" como mecanismo de controle social e étnico para nacionalizar as massas chegadas durante o processo de imigração européia, a partir de 1880. Neste trabalho, buscaremos compreender as relações existentes entre Carlos Octavio Bunge (1875-1918) e José Ingenieros (1877-1925), partindo da análise de sua produção intelectual do início do século XX e de suas publicações em revistas do período - Revista de Derecho, Historia y Letras, Revista de Filosofia, Cultura, Ciencias y Educación (1915 - 1929) e da revista El Monitor de la Educación Común (1881 - 1965) - uma vez que estes compartilhavam das mesmas idéias étnicas e da preocupação em decifrar a história nacional, sendo considerados, por isso, pertencentes à corrente cientificista. / Abstract: In Argentina - mainly in the end of 19th century - It was often the utilization of ethnicity by the intellectual elite as one of the ways to formulate pending questions about the country formation process. The argentineans cientificists used, several times, biologist appeals and social darwinism conceptions, producing the theory of "racial mixture" as mechanism of social and ethnic control to nationalize the arriving masses during the European immigration process, from 1880. In this work, we will focus the understanding of the relationships that existed among Carlos Octavio Bunge (1875-1918) and José Ingenieros (1877-1925), studying the analysis of his intellectual production of the beginning of the 20th century and the publications in magazines of the period - Revista de Derecho, Historia y Letras, Revista de Filosofia, cultura, ciencias y educación (1915 - 1929) and the magazine "El monitor of la educación común" (1881 - 1965) - once they shared the same ethnic ideas and the concern in deciphering the national history, being considered, for that, belonging to the cientificist current. / Mestre

Nesta monografia, elegeram-se objeto de estudo os textos que Joaquim Nabuco escreveu sobre Camões, analisados numa perspectiva que privilegiou a articulação entre o assunto literário e a questão da nacionalidade. Parcela muito pouco conhecida da obra nabucoana, o ensaio Camões e Os Lusíadas, publicado em 1872, o discurso pronunciado por ocasião do tricentenário de morte do poeta quinhentista e as conferências The place of Camoens in literature, Camoens, the lyric poet e The Lusiads as epic of love, pronunciadas no biênio 1908-09, constituem registro de como o autor pernambucano pensou a cultura e a identidade brasileiras frente à história colonial e à presença da literatura portuguesa no contexto oitocentista no País, em período de consolidações nacionalistas. O fato é que a poesia camoniana motivou Nabuco a afirmar os laços culturais entre ex-colônia e ex-metrópole, propondo um Camões luso-brasileiro, em 1872 e 1880 (o primeiro desses anos, também um centenário, o de publicação dOs Lusíadas), e, em 1908-09, um Camões podemos dizer pan-americanista, ou a serviço da propaganda monroísta, causa abraçada pelo então embaixador do Brasil nos Estados Unidos. Esta monografia também discute as concepções literárias de Joaquim Nabuco, especialmente no que tange ao exercício da crítica, bem como levanta hipóteses a partir das quais se procurou explicar o porquê de o abolicionista ter escolhido Camões como tema de certa recorrência e importância dentro de sua dedicação à literatura. / This monograph analyses the texts that Joaquim Nabuco wrote about Camoens, in a perspective in which the literary subject and the nationality question are set in dialog. The book Camões e Os Lusíadas, published in 1872, the speech, which has celebrated the third centenary of Portuguese poets death, and the speeches The place of Camoens in literature, Camoens, the lyric poet and The Lusiads as epic of love, which were spoken in 1908-09, are a register of how the author has thought about Brazilian culture and identity in the face of the colonial history and presence of Portuguese literature in 19th century Brazilian context and in a period of emergence of nationalist movements. In fact Camoenss poetry motivated Nabuco to assert the cultural ties between Portugal and Brazil, by presenting a Luso-Brazilian image of Camoens in 1872 and 1880 (the first of these years was the third centenary of publication of Os Lusíadas) and a pan-americanist image of him in 1908-09, which is, a Camoens in service of monroism, foreign policy that the Brazilian ambassador did stand up for. This monograph discusses Joaquim Nabucos literary thought, too, especially when it comes to criticism, and proposes hypothesis to explain why did the abolicionist choose Camoens as an important subject of his dedication for literature.

O trabalho tem por objetivo examinar a obra O Cabeleira, de Franklin Távora, como romancechave para se compreender uma parte do longo processo de formação de uma identidade nacional por meio da literatura, desenvolvido durante a segunda metade do século XIX. Também busca salientar a perpetuação e atualização de substratos da herança medieval portuguesa em nossa tradição literária, enfatizando o trabalho de transformação e climatização desses substratos graças à apropriação crítica realizada pelo autor. A imaginação criativa de Távora, embebida no repositório nacional, faz aflorar, em O Cabeleira, substratos medievais na construção do heróibandido, bem como na estruturação da trágica história romântica vivida pelo protagonista, na qual o amor é visto como um sentimento atávico, acima do Bem e do Mal, capaz de transformar até o mais cruel dos bandidos. Entretanto, o romance contempla outras intenções; além do objetivo de divulgar as \"autênticas tradições nacionais\", o autor buscava respaldar sua produção literária no cientificismo e defender a importância da educação para a construção de uma nação grandiosa. Certo de que as ciências naturais deveriam se unir à literatura para constituir a nação brasileira, Franklin Távora orquestra, no romance inaugural da Literatura do Norte, uma dupla intenção: de resgate das tradições nacionais através da história do bandido Cabeleira e de defesa da tese de que a educação é o único meio de salvar o sertanejo - e o povo brasileiro - da barbárie, assim como de elevar o Brasil ao patamar civilizatório dos países europeus. A utilização destes ideais e convicções como material literário possibilitou a diversidade de aspectos presentes no romance que parte de uma história registrada tanto pela crônica histórica quanto pelas trovas populares sobre o terrível Cabeleira, alcunha de José Gomes, um dos primeiros cangaceiros de Pernambuco. / The goal of this paper is to examine the romance O Cabeleira by Franklin Távora as a key novel for the comprehension of part of the long process of formation of a national identity through literature, accomplished raised along the second half of century XIX. It also aims to highlight the perpetuation and up date of the substrata of the Portuguese medieval inheritance in our literary tradition, emphasizing the work of transformation and climatization of these substrata due to the critical appropriation made by the author. Távora\'s creative imagination absorbed in the national repository, makes arise in O Cabeleira, medieval substrata in the construction of the outlaw hero, as well as in the structuralization of the tragic romantic history lived by the protagonist, in which love is faced as an atavic feeling, above of the good and of the evil, able to transform even the cruelest of the outlaws. However, the novel contemplates other intentions: besides divulging the \"authentic national traditions\", the author tried to endorse the literary production in science and to defend the whole of education in the construction of a huge nation. Certain that natural science should have to be joined to literature in order to build a Brazilian nation, Franklin Távola orchestrate, in the inaugural romance of the \"Literature of the North\", a double intention: the rescue of the national traditions through the history of the Cabeleira outlaw and the defense of the thesis stating that the education is the only means to save the sertanejo (inlander) - and the Brazilian people - from the barbarity and to raise Brazil to the civilizational plataform of European countries. The use of these ideals and certainties as literary material enabled the great variety of aspects present in the romance that emerge from a history registered both by historical chronicle and by the popular ballads about the terrible Cabeleira, nickname José Gomes, one of the first cangaceiros (bandits) from Pernambuco.

Orientador: Antonio Celso Ferreira / Banca: Monica Pimenta Velloso / Banca: Tania Regina De Luca / Resumo: 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. / Abstract: 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. / Mestre

Este trabalho tem por objetivo analisar a construção da identidade nacional a partir da obra de Graça Aranha no período de 1921 a 1931. No ano de 1921, Aranha se estabeleceu no Brasil depois de realizar alguns trabalhos na Europa, participando dos debates no âmbito artístico e literário nacional. Nesse período publicou livros, conferências, ensaios e artigos defendendo sua visão do que constituiria a identidade nacional. Para delimitar essas características, o autor propõe inserir o Brasil na modernidade. Aranha elaborou uma definição para o significado de moderno, estudado nesta pesquisa em relação às ideias divulgadas a partir de 1870 e a delimitação entre o antigo e o moderno. A nacionalidade era buscada para definir a singularidade do Brasil e, a partir dessa, poder inserir-se em uma ordem universal. Assim, na década de 1920, formou-se um debate sobre o que significava ser moderno. Alguns pensadores propunham diferentes noções de modernidade, ocorrendo uma disputa também em torno desse termo. As fontes principais desta pesquisa são os textos escritos por Aranha, mais especificamente o conjunto de ensaios A Estética da Vida (1921), um estudo das correspondências entre Machado de Assis e Joaquim Nabuco (1923), o conjunto de conferências e ensaios Espírito Moderno (1924) e a autobiografia Meu próprio romance (1931). Entendendo que a identidade nacional não é uma essência, mas um discurso através do qual se representa essa nação, discurso que inclui, exclui e estabelece práticas sociais, será utilizado o conceito de representação1 como abordado por Chartier (1990) e Bourdieu (1989). As disputas que surgem em torno dessas delimitações serão trabalhadas a partir do viés das lutas de representações. / This work aims to analyze the construction of national identity in the work of Graça Aranha between the period of 1921 to 1931. In the year 1921 Aranha is established in Brazil after performing some work in Europe, participating in debates in the national, artistic and literary sphere. In this period he published books, lectures, essays and articles defending his vision of what constitutes the national identity. To define these characteristics he proposes to insert Brazil in modernity. Aranha elaborated a definition for the meaning of modern, studied in this research in relation to the ideas spread from 1870 and the delimitation between the old and the modern. The nationality was sought to define the uniqueness of Brazil and, from this singularity, it could be inserted into a universal order. Thus, it formed a debate about what it meant to be modern. Some thinkers proposed different notions of modernity, occurring a dispute also around this term. The main texts analyzed will be the entirety of essays A estética da vida (1921), a study of correspondences between Machado de Assis e Joaquim Nabuco (1923), the set of essays and lectures Espírito moderno (1924), and the autobiography Meu próprio romance (1931). Understanding that national identity is not an essence, but a discourse through which represents this nation, a discourse that includes, excludes and establishes social practices, we will use the concept of representation as defined by Chartier (1990) and Bourdieu (1989). Disputes that arise around these boundaries will be studied from the concept of struggle of representations.