O ideal nacionalista esteve, durante um longo período, no centro das preocupações dos intelectuais do século XIX brasileiro. Com a independência do Brasil, tornou-se bastante forte o desejo de criar ou de forjar uma mitologia que sustentasse o surgimento de nossa nação. Embora o Indianismo tenha sido uma grande expressão dessa tendência, o nacionalismo romântico brasileiro também valorizou as tradições populares e do folclore, como forma de reabilitar as diferenças e as particularidades da nação brasileira, numa tentativa de encontrar na cultura do popular o substrato de uma cultura nacional. O principal objetivo desta pesquisa é o de mostrar como o folclore brasileiro serviu aos intuitos dos românticos de tentar elaborar uma literatura nacional, que pudesse, de acordo com eles, afirmar, frente à antiga metrópole e à Europa, a singularidade ou a autonomia cultural da então recém-independente nação, de modo a salientar que tal intuito atravessou todo o século XIX, evidenciando-se, inclusive, entre alguns parnasianos, até chegar no século XX, no qual seria (re)significado pelo Modernismo, sobretudo por meio de figura de Mário de Andrade. Ressalte-se que a pesquisa restringe-se a um aspecto do nosso folclore, que é a lenda Iara, delineada em obras de José de Alencar, Gonçalves Dias, Juvenal Galeno, Melo Morais Filho, Machado de Assis, Olegário Mariano, Martins Fontes e Olavo Bilac. / For a long period, the nationalist ideal was the central concern of Brazilian intellectuals of the nineteenth century. Owing to Brazils independence, the necessity of creating a mythology to explain the emergence of our nation became very strong. Although the Indianism has been a great expression of this trend, our Romantic nationalism also considered the popular traditions as an important element to find Brazils national essence and to make its differences and particularities clear. The main aim of this study is to show how Brazilian folklore was used by Romantics, whose intention was to present our cultural autonomy to Europe, particularly to Portugal, by means of a national literature. It is important to emphasise that this intention characterised the authors of the entire nineteenth century, including the Parnassians poets. In the twentieth century, the interest in folklore was continued mainly by Mário de Andrade. It should be noted that the research is restricted to one aspect of our folklore, the legend of Iara, described in works of José de Alencar, Gonçalves Dias, Juvenal Galeno, Melo Morais Filho, Machado de Assis, Olegário Mariano, Martins Fontes and Olavo Bilac.

This thesis presents a thorough investigation of the 2500th Anniversary Celebrations of the Founding of the Persian Empire by Cyrus the Great, held in Persepolis by the Shah of Iran in 1971. Since the time of the Celebrations they have been routinely demonised by historians and critics of the Pahlavi regime, who present them as evidence of the delusion and megalomania of an Oriental despot. The purpose of this thesis is to provide a more sober, balanced account of the events of 1971 and the preparations leading up to them, in order to understand more fully the aims and motivations of the Shah and his entourage in organising such a nationalist spectacle. It will argue that Iran benefitted greatly from the international exposure the event generated, politically, economically and culturally. Most accounts of the Celebrations have focussed primarily on the sumptuous Pahlavi hospitality, enjoyed by the world’s elite over the course of a few days in purpose-built accommodation at Persepolis, the former ceremonial capital of the Achaemenid dynasty. In contrast, the premise of this thesis is that the ceremonies at Persepolis and Pasargadae were just a small, albeit highly visible, part of the programme for the Celebrations. From the time the Celebrations were conceived in the late 1950s, exhibitions were organised, publications commissioned and buildings constructed. All were intended to contribute to the development and modernisation of Iran, and all were conceived with the Anniversary Celebrations in mind. Internationally too, the Celebrations aroused great interest. Hundreds of books and articles were published in conjunction with the event, and museum exhibitions, academic conferences and other special cultural events were organised around the world, giving an important boost to the field of Persian studies worldwide. Meanwhile, the Shah’s Iran was presented as a significant regional and global power. This thesis will contribute, therefore, to our understanding of the Celebrations, and more broadly the material effects of the politicisation of culture in the late Pahlavi period.

Right-wing nationalist parties are growing throughout the world. The French Front National, Hungarian Jobbik, Austrian FPÖ, Danish Folkeparti (People Party), Swedish Sverigedemokraterna (Sweden Democrats), and other nationalist parties set their stake in the ground and claim a new political agenda that is either populist or extreme and Fascist. A fledgling of Sweden Democrats is Alternativ för Sverige (Alternative for Sweden – AfS). The party aspires to enter the Swedish Parliament, and it disseminates opinions that seem to go in line with Fascist ideology. To get a better understanding of this newborn and growing political party, this study compared AfS’ ideology, as expressed through their policies, with the fascism ideology by carrying out a content analysis. The results showed that AfS’ policy is rather similar to Fascism, in terms of being ultra-nationalistic, elitistic, spiritualistic, corporativistic, and authoritarian. AfS diverged from the Fascism ideology on a few minor points only, primarily by accepting private ownership and state-independent enterprises. However, AfS may be hiding an agenda that is entirely Fascist.

Tse, Yuen Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 209-222). / Abstracts in English and Chinese. / Abstract --- p.iii / Acknowledgements --- p.vi / Chapter Chapter One: --- Introduction --- p.1 / The Research Question / Terminology / Literature Review / Methodology / The Structure of the Thesis / Chapter Chapter Two: --- Schooling in Hong Kong --- p.42 / Structure and Characteristics of the Education System / Language and Hong Kong´ةs Education / History Education in Hong Kong / Civic and Political Education in Hong Kong: A Brief History / Conclusion / Chapter Chapter Three: --- An Overview of the Organization of Patriotic Education at School Level --- p.62 / Differences in the Pattern of Organizing Nationalistic Education in Individual Schools / Concrete Changes in the Implemented Patriotic Education Curriculum and their Ambiguous Implications / Decision Making and Power Relations in School-Based Curriculum / Conclusion / Chapter Chapter Four: --- The Meanings of National Identity and Nationalistic Education: Views of Education Practitioners --- p.89 / Teachers´ة Background / Teachers´ة Attitudes towards Nationalistic Education / Which Patriotism? Ambivalences in the Teaching of Patriotism for China / Conclusion / Chapter Chapter Five: --- Nationalistic Education in Practice: The Conflicting Meanings of China and Love for Country I --- p.126 / "Which China Should Be Loved? Ancient, Cultural China versus Contemporary, Political China" / Conclusion / Chapter Chapter Six: --- Nationalistic Education in Practice: The Conflicting Meanings of China and Love for Country II --- p.148 / Affective or Critical Education/ Loving the Country as a Duty or a Choice / Conclusion / Chapter Chapter Seven: --- Conclusion --- p.175 / Summary of Chapters / The Teaching of National Identity in Hong Kong in Review / The Future of the Teaching of National Identity in Hong Kong: The Promotion of a New Form of National Belonging / Appendices --- p.206 / Bibliography --- p.209

Leung, Mei Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 164-188). / Abstracts in English and Chinese. / Abstract --- p.i-ii / Acknowledgements --- p.iii-iv / Introduction --- p.1-15 / The English Musical Renaissance and the Problem of Englishness in Music / Chapter Chapter One --- England: “The Land without Music´ح --- p.16-46 / Chapter Chapter Two --- English Musical Nationalism and the Writings of Vaughan Williams --- p.47-76 / Chapter Chapter Three --- Reception of the Music and Ideas of Vaughan Williams --- p.77-116 / Conclusion: The Heirs and Rebels --- p.117-119 / Appendices / Chapter Appendix I --- Biographies of Twentieth-century English Critics Cited in This Study --- p.120-134 / Chapter Appendix II --- Scores of Works by Ralph Vaughan Williams --- p.135-163 / Bibliography --- p.164-188

This dissertation is the first study of the complete oeuvre of the nineteenth-century archaeologist, photographer, and academic painter Auguste Salzmann, who created some of the earliest European archaeological photographs in the field. His 1854 photographs of Jerusalem have long been praised for their aesthetic beauty, but they have yet to be fully integrated into his full oeuvre of five photographic albums created between 1854 and 1875—a nearly two-decades-long engagement with the photographic medium and an extensive archaeological praxis rooted in the Bible and developed in Greece and the Middle East. Created by an academically trained painter, exchanged to sell artifacts across international borders, and reproduced to contest archaeological theories, Salzmann’s photographs were active participants in a dense cultural web of religious history, scientific thought, aesthetics, economics, and nationalism. In response to these social forces Salzmann’s photographs adopted various forms—bound and unbound, singular and serial, devotional and documentary, scientific and artistic. By demonstrating how Salzmann’s multivalent work had multiple simultaneous social lives in their original historical contexts, this project creates an interdisciplinary model for the study of photographs and photographic albums. Each chapter focuses on one album to illuminate the trajectory of Salzmann’s pictorial methods. The first chapter traces the genesis of Salzmann’s most famous commercial album, the grande édition of Jérusalem: Étude et reproduction photographique de la ville sainte, to discover the many forms his photographs adopted between his 1854 journey to Jerusalem and the album’s 1856 publication. Through the petite édition of Jérusalem the second chapter reveals how Salzmann channeled French religious history to promote contemporary French nationalist interests in the Holy Land. The third chapter turns to Voyage en Terre Sainte (1863) to demonstrate how Salzmann’s pictorial methods adapted to competing archaeological theories and modes of scientific illustration. The fourth chapter centers upon his posthumous Nécropole de Camiros (1875) of Rhodian antiquities to establish how the rhetoric of archaeological discovery granted photographs a multivalent status as scientific specimens, economic goods, and art objects. Challenging previous scholarship that approaches photographic albums as passive repositories of information, the project formulates them as dynamic, mobile actors that produce new knowledge. / 2024-12-31T00:00:00Z

Esta tese visa a apresentar a parte da dramaturgia de Fernando Gomes que dialoga com narrativas de Camilo Castelo Branco a fim de estabelecerem-se relações entre as concepções de mundo dos dois autores no que tange à nacionalidade, à mulher e ao comportamento humano. Nesse sentido, o estudo do cômico tornou-se fundamental já que ambos os escritores se valem do humor para promoverem suas análises da época em que se inserem e do universo interior humano. O riso movimenta e incentiva a ação, cônscios do valor dessa ferramenta, novelista e dramaturgo apresentam sua cosmovisão sob esse viés. / This thesis aims to present the part of Fernando Gomes work that converses with narratives of Camilo Castelo Branco to settle relations between the worldviews of the two authors in relation to nationality, women and human behavior. In this sense, the study of the comic has become crucial once both writers make use humor to promote their analysis of their time, the universe and human interior. Laughter moves and encourages action, conscious of the value of this tool, novelist and playwright presents their worldview from this angle.

My main argument in this dissertation is that popular nationalism in post-war South Korea, unlike the conventional claim to it among many South Korean critical intellectuals and unification policy-makers, cannot serve as an antidote to anti-North Koreanism. On the contrary, it is problematic that the cultural politics of national identification, prescribed as an authentic critical tool of challenging anti-North Koreanism, helps program hierarchical inter-Korea relationships by exposing the South Korean public to anomalous cultural-political characteristics of North Koreans. It also does so by creating popular discourses that have reinforced unification policy agendas that frame the development of North Korea in terms that would make it amenable to the needs of transnational capitalism and the legitimacy of liberal human rights discourse. This critical endeavor claims that the critique of anti-North Koreanism cannot be successful without problematizing the idea of discontinuity that stresses there is a rupture between cold war and post-cold war forms of anti-North Koreanism. This is because any un-scrutinized presumption of the historical transition can only confuse critical interpretations of the role of national identification while thereby reinforcing policy-driven resolutions for inter-Korea sociability. Thus, I locate the significance of my work in a democratic call for South Korean critical communication and cultural studies as well as the public to effectively deconstruct the contingent discursive collaboration of national identification and anti-North Koreanism that complies with transnational globalization.

In 1861, the U.S. Congress, responding to the growing number of Civil War dead, passed legislation regulating the burial practices of the Union Army. Six years later, the legislative body established a government-administered national cemetery system (NCS) that only interred Union soldiers killed in action. Subsequent pressure, from veterans groups, families, concerned citizens, and Congress led to the expansion of the institution’s eligibility regulations and funerary landscapes. As the product of over a century and a half of political and social negotiations, the NCS now consists of nearly 200 cemeteries, on domestic and foreign soil, that inter a vast array of individuals whom the government has deemed patriots. Drawing on cultural history, memory studies, anthropology, and art history, “These Honored Dead” illustrates how the NCS evolved from necessary wartime burial grounds into a federal memorial institution whose activities defined and announced the nations’ geographic, political, and social boundaries. Through an administrative and cultural history of the institution, this dissertation considers how Americans from diverse backgrounds and within divergent historical contexts have turned to the NCS to understand their individual and national identities and ideals. I look to the institution’s funerary landscapes as physical and affective evidence of how the federal government and the U.S. citizenry negotiate social and political relations. In the process, I interrogate “whose deaths matter?” to the national democratic mission. I argue that by developing national cemeteries and maintaining exclusionary interment regulations, the federal government announced a racialized, gendered, and politicized hierarchy of national belonging. The persistence of the NCS demonstrates that the nation mourns and memorializes patriotic sacrifice, regardless of martial victory, to make sense of contemporary anxieties. This dissertation illustrates the ways that the federal government mediates cultural and social politics, alongside its own interests, to construct a politically and socially useful memorial embodiment of patriotic sacrifice.

On August 4, 2012, white American swimmer Michael Phelps was awarded a Lifetime Achievement Award by the international swimming federation in recognition of his Olympic achievements. The unprecedented award – a specially commissioned sculpture – proclaimed Phelps as “the greatest Olympian of All Time.” This title may, at one level, be perceived as a benign honorific bestowed upon an extra-ordinary athlete. On another level, the title should be viewed as a result of the hidden ideological work done by and through discourses of swimming in America, discourses that are always racialized, classed, nationalized, and gendered. Michael Phelps is the point of entry to unpack how modern sport and the Olympics reproduce these dominant views and processes that lead to contemporary social inequalities. My focus is an examination of the power relations that enabled and produced him as the Greatest Olympian of All-Time. Phelps’s phenomenal performance in the pool is undeniable, but I argue that the ensuing adulation and recognition results as much from his privileged position as a white American man as from his hard work, skill, and determination. This dissertation unpacks and explains how these processes work in the contemporary sporting world. Scholars have long argued that sport is a site for understanding how race, class, gender, and nationalisms are performed and/or constructed. In this dissertation, I take a critical cultural studies approach to demonstrate that, from an ideological and cultural point of view, Michael Phelps is the greatest Olympian of all time because he is the physical and symbolic embodiment of the modern Olympic movement, a movement founded upon 19th century ideals of humanism, liberalism, and modernity that continues to stabilize and reinforce dominant views of race, gender, class, nationalism and sexuality. To make this argument, I first historicize the sport of swimming itself. As one of the sports at the first Modern Olympics in 1896, swimming is an ideal site for understanding the modernization process through sport. Swimming has long been dominated by white athletes, and I deploy the recent concept of the sporting racial project to grasp how modernization is a racialized project fundamental to constructions of institutional racism. Next, I examine media representations of Michael Phelps in the early 21st century. These representations reveal the role of sport in popular imaginations of the nation and, specifically, the importance of the white male sporting hero in constructions of America in the post-9/11 world. Then, I explore and contextualize notions and meanings of “amateur” and “eligibility” within late 20th and early 21st century structures of Olympic swimming, including the complex and contradictory relationships between inter/national governing bodies. Finally, I show how these three seemingly independent processes involving race, class, gender, and nation are interdependent and fundamental to modern sport and the Olympics.