Browsing by Subject "Nationalism"
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Item The Dialogue Of The Deaf: A Discourse Analysis On The Construction Of The Catalan And Spanish Identities In News Media(2018-05) Juarez Miro, ClaraThis study analyzes the role of the media in the relationship between Catalonia and Spain, a prototypical case study for secessionism among developed countries. Framing and discourse theory inform a content analysis to answer the following research questions: (1) How do national media construct Catalan identity in Spain? (2) How do national media construct Spanish identity in Spain? (3) How do Catalan regional media construct Spanish identity in Catalonia? (4) How do Catalan regional media construct Catalan identity in Catalonia? (5) How is the secessionist movement framed in both nation-wide and Catalan media? The analysis focuses on news at three milestones in Spain’s history: The autonomic pacts in 1981, which informed the current distribution of central and regional powers; the secessionist demonstration in 2012, which resulted in the Catalan government’s taking a pro-independence stance; and the ISIS terrorist attacks in Catalonia in 2017, which elevated the political tension between administrations.Item Divided loyalties: citizenship, regional identity and nationalism in Eastern India (1866- 1931)(2008-12) Mishra, Pritipuspa AmarnathThis dissertation poses the following question--What does the co-existence of profound linguistic difference and unitary nationalism reveal about the nature of the Indian nation and the relationship between the region and the nation in India. To this end, I focus on the period when a tactical resolution between the demands of the region and the nation occurred in India. My contention is that at the root of this resolution is the need (both at the regional and national level) to imagine a new citizen of emergent India. Through detailed studies of cultural and intellectual engagement of regional political, literary and historical organizations in early twentieth century Orissa, this dissertation traces the resolution of regional and national interests. I argue that in the period between 1900 and 1920, the emergence of the idea of a universal and politicized Indian citizen occasioned this resolution of the tension between the region and the nation. As the meanings of politics, statehood, rule and subject-hood changed due the colonial state's efforts to introduce franchise in India, both the Indian National Congress and the major regional political organization in Orissa, the Utkal Sammillani were forced to elaborate a clear relationship between Orissa as a region and the broader Indian nation in order to define the universal Indian citizen.Item Gerhard Munthe's Folktale Tapestries: Designing a Norwegian National Narrative in the Nineteenth Century(2014-12) Warren, EricaThis dissertation contemplates the role of the Norwegian landscape painter and designer Gerhard Munthe (1849-1929) in constructing the Norwegian nation. During the nineteenth century, the production of narratives that trace a progressive trajectory for Norway's history, within historical and decorative arts museums, along with art objects and visual culture, played a major role in constructing, defining, and promoting Norway as an independent, European nation. The Norwegian artist Gerhard Munthe, as a participant in the Paris 1900 World's Fair and through his role as a board member of the Norsk Folkemuseum (Norwegian Folk Museum) and the Kunstindustrimuseet (Museum of Decorative Arts and Design) in Oslo, participated in the nation-building process which effectively manipulated Norway's past as well as criticisms of Norway to construct and promote a modern Norwegian national identity. In their assessments of Munthe's tapestries, nineteenth- and early twentieth-century critics and scholars have noted the national aspects of his designs and some have struggled to note the tapestries place as expressive of national identity, while also noting how they might signal ambivalence towards that identity. The folktales depicted in the tapestries have the potential to negotiate that ambivalence, while also engaging with the larger project to imagine "the people." This larger project includes the efforts of the folklorists Peter Asbjørsen and Jørgen Moe, and philologist Ivar Aasen, who sought to recuperate and document folklore and language. Despite the failings of these projects, they, along with Munthe's tapestries, remain central to the story of Norwegian nationalism. Some contemporary critics seeks to demonstrate Munthe's significance in an art historical context beyond Norway through an investigation of Munthe's work and its engagement with the theories and motifs of the Aesthetic movement, the Arts and Crafts movement, art nouveau, japonisme, and Symbolism. In examining these modern movements and positioning Munthe as engaged with their ideas, it becomes clear that these movements or trends are tied together by certain repetitive narrative threads, including an insistent borrowing and imagining, a focus on craftsmanship, and a repurposing of the historical.Item The insolence of the Filipinas: mothering nationalism, globalization, and literature.(2010-12) Suarez, Harrod JMy dissertation reads diasporic Filipina/o literatures that destabilize the dominant representations which position Filipinas as "mothers" in and of the global economy and Philippine nationalism. The project is situated after the moment of US imperialism, as attempts to deliver a materially prosperous and psychologically uplifting national identity coincided with the rise of post-fordist global economic strategies, the results of which were the brokering and exporting of Filipina/os overseas. As the nation struggled to assert itself under poor and corrupt leaders, as the social unrest of anti-imperialist organizing did not wane but transformed into anti-capitalist critiques, establishing a formal global visibility for Filipina/o workers became imperative to assuage political, economic, and cultural uncertainties. The turmoil would culminate in the 1974 Presidential Decree 442, which authorized and institutionalized overseas employment as a state-managed program. The role diasporic Filipina/os play in the global economy--participating in older, traditional industries such as logging, manufacturing, and shipping, to newer service industries such as nursing, domestic help, and call centers--has been well-documented in recent scholarship, identifying the national service being performed. As numerous reports indicate, Filipina/os send more than ten billion dollars in remittances not just to families, but also to the nation. Such financing is so critical for the national economy that Philippine presidents have hailed them as both "national heroes" and "overseas investors." This workforce is not only highly gendered insofar as it is predominantly feminized, but it may be further specified as having a maternal character--literally but also, more broadly, symbolically. If nationalism and globalization work in tandem to inscribe Filipinas as a transnational, maternal underclass, what is the significance of texts that do not cohere with this inscription? My dissertation contends that in order to disrupt the authority of nationalism and globalization, which despite their differences collude to represent and employ Filipinas, one must destabilize those racialized, gendered, and sexualized representations. My dissertation thus seeks to bring to crisis the transparent and empiricist epistemologies that underwrite nationalism and globalization, outlining the ways that diasporic Filipina/o literatures critique these state-sanctioned ways of knowing and being. My first chapter, "Mother, Navel, Nation: Disseminating the Dictionary of Philippine Heteronationalist Globalization," lays out the theoretico-political scope of the project by reading Nick Joaquin's short story, "The Woman Who Had Two Navels." It is an appropriate text with which to begin, given both Joaquin's role as a leading nationalist writer in the early phase of independence as well as given the dubious rumor that circulates in the story, spread by a young woman who, along with her mother, entices and repulses various male suitors. The story represents the postwar Philippines as a gendered landscape, newly independent and luring Filipino men who have left for other shores to return--only to offend and threaten them, driving them back overseas. While it explicitly negates the role of Filipina mothers, I draw on certain moments that reveal a more complex theorization of gender and sexuality for both nationalism and global capitalism. The contemporary neoliberal consensus collaborates with Philippine nationalism to produce Filipina-as-mothers as ideal subjects according to particular racial, gender, and sexual categories. This reading contributes to the genealogy of hetero-masculinist nationalism I trace within the chapter. As many scholars have analyzed and often reproduced, "revolution" has circulated as an "unfinished" discourse emerging from within anti-imperialist mobilizing in the Philippines. Not unlike both liberal and revolutionary nationalisms around the globe, the dominant character of such discourse has proven to be profoundly and constitutively heteropatriarchal. The mourning that is concomitant with the notion of an "unfinished" or "incomplete" "revolution" can thus be understood as a mourning and failure of native masculinities to protect their families, women, and land. Building on postcolonial feminist critiques of nationalism as well as recent conceptualizations of the rhizomatic, biopolitical field of global empire, the chapter critiques nationalism not only for its unexamined heteropatriarchy, but also its potential obsolescence given the complicity of revolutionary and liberal Philippine nationalisms with global capital. My second chapter, "Letting the Cat(achresis) Out of the Bag: Transnational Filipina Motherhood," reads two texts that represent motherhood in distinct ways. In Eleanor Coppola's published diary of the filming of Apocalypse Now, the narrator aspires to overcome the inequality between her and her husband's professional work by conceptualizing an ambitious marriage dependent on imperialist strategies and settings. Her writings probe the assertion of an empowered identity that, strikingly, only seeks that liberation in the Philippines; when returning to the national-domestic space, she appears content to return to her own national-domestic-maternal duties. Rizalina, the young Filipina mother of Jessica Hagedorn's novel Dream Jungle, the second half of which fictionalizes the Apocalypse Now film production, distances herself from maternal, nationalist, and imperialist norms. In this way, she resists being recodified into a visible, legible, rational representation that reproduces either Coppola's imperialist feminism or an equally unexamined nationalist feminism. The terms of her liberation are not spelled out, but neither can one deny the happiness she claims; what can be specified is her obsession with a white tiger that is flown in for the film shoot. That cat, rather than a Filipina elder or Coppola's fictional counterpart, inspires Lina most of all. In doing so, Lina performs a catachresis on the production of racialized, gendered freedom. My third chapter, "Carlos in Medford and Gabe in Meridan: Attempted Erasures of the Filipina Mother for Hetero/Homonational Masculinity," examines two novels, Carlos Bulosan's America Is in the Heart and Brian Ascalon Roley's American Son, to consider how multiple efforts to represent freedom and agency draw from and reproduce imperialist and heteronormative authority. Even as Roley's novel stages an unannounced but noticeable homonationalism--which can be understood as a contemporary revision of the heteronationalism of Bulosan's novel--it is quickly rescinded back into a heteropatriarchal space. Neither narrator can liberate themselves on the grounds of masculinist identifications, whether heteronational or homonational. Whereas the masculine characters of both texts thus struggle in the attempt to speak for themselves, the mother in the second text recognizes the dilemmas representational strategies pose. Many characters try to speak for her, on her behalf, but she renders their attempts futile and does not aspire to represent herself. She rejects representations that interpret her as a redemptive figure for either national heteronormativity or globalization. Such a move does not mean she accepts invisibility; to the contrary, her presence persistently disrupts the text and stymies its efforts at resolution. The fourth and final chapter, "Learning to Listen: Nation, Film, and Children in Kidlat Tahimik's Mababangong Bangungot," reads the eponymous film, which demands critical audiences who listen as well as they watch. I argue that listening to a film is just as significant as watching it; in spite of what seems like a formalist argument, I examine in what ways such an approach intervenes in the production of Philippine history and Filipina/o bodies, especially as those bodies get translated for the interests of nationalism and globalization. In the film, an overprivileging of the visual aids and abets the film's masculinist nationalism, which is promoted as a liberatory alternative to globalization and imperialism. In this chapter, the visual pathos of the Filipina mother--neglected, then remembered, by her son after warning him of the seductions of the west--fails to complicate her identity, employing her strictly for the purposes of nationalist mourning. But in the aural rendering of Filipina/o children, which works in sharp contrast to their visual rendering, it is possible to discern a critique of the film's heteronormative nationalism. That is, by listening to the film, one can hear a moment of liberatory potential not in the service of heteronationalist global empire.Item Intersections of Art and Politics: Clemenceau, Monet and Republican Patriotism from Commune to Nymphéas(Journal of Opinions, Ideas & Essays (JOIE), 2015-10-01) Munholland, John KimIn the aftermath of France’s defeat in the war of 1870-71 and the Commune uprising of 1871, the French sought a new political identity and sense of unity, which brought a new political regime, the Third Republic. At the same time, a younger generation of French artists began experimenting with new forms and techniques that came to be known as Impressionism. The Third Republic was born at the same time that a new generation of artists were emerging. While there was always a distance between the artistic and political worlds, two representative figures, the politician Georges Clemenceau and a leading Impressionist, Claude Monet, found themselves joined in a common cause, despite Monet’s dislike of political conflicts, in defending the newly formed republic from its opponents during three crises in France at the end of the nineteenth and early twentieth century. This paper examines this curious alliance of two friends and patriots during times of crisis during the formative years of the French Third Republic.Item Lessons on Influencing Nationalism to Align National Interests: Stemming the Tide of Pakistan's Chaos(Hubert H Humphrey Institute of Public Affairs, 2009-05-15) Drucker, JessicaPakistan’s rapidly deteriorating situation requires the United States to use strategic foreign policy to prevent a spiral into chaos. The U.S. may be able to influence Pakistani behavior by appealing to Pakistani nationalism and national interests to achieve stability, drawing on lessons from past successes with Spain and Poland. Inherent within this process, the U.S. needs to come to understand its own nationalism and how that positively and negatively affects cooperation with other states. This understanding can further U.S. national interests while a lack of understanding could undermine U.S. interests. Moreover, U.S. foreign policy needs to remain adaptable to satisfy current U.S. national interests while staying flexible enough to tackle future challenges should those interests change. And though different administrations set their own priorities and thus pursue different foreign policies, these case studies form a foundation for future applications.Item Lindo y Querido: Nationalism, Latin American Modernity, and the Contested Terrain of the 1968 Mexico City Olympic Games(2022-05) Campos, EdgarMy dissertation illustrates the intertwining of sport, culture, and politics between the Olympic platform and the cultural politics surrounding the legitimacy of the imagined community of México. The México City 1968 Olympic Games marks an unparalleled case study of the lengths and challenges that a post-colonial nation experiences in their attempts for legitimation, modernization, and acceptance on the world stage. Exploring the Olympic journey of México, from the bidding process, hosting, and reception (internal and external) to the present-day memories and legacies, illustrate how a post-colonial nation navigates international relations and engages with the socio-political forces of nationalism, modernity, and globalization. My dissertation and work are grounded in the broader literature of cultural and political sociology. Culture is a central focus of my research, and I care to understand the real material consequences of political decisions made by leaders in México and the West. Within these traditions, I pay special attention to and study ideas, knowledge, and popular culture as they operate as fields of contested terrain. I engage with symbolic interactionism at the macroscale to help situate the cultural-political work being done by elites with Goffman’s work of presentation of self/stigma helping understand how Mexican elites navigated Mexico’s stigmatized image. In this instance, nation-states are social actors whose government leaders operate in meaningful interaction on behalf of their citizens. Drawing from historical methods, semiotics, textual analysis, site analysis, visual analysis, and extensive secondary literature help paint a nuanced picture of an event that impacted not just Méxican and Olympic history but also global history. Situating the research in the multifaceted context of the Cold War and the Grand Historical Narrative was key. I argue that nations’ stigma and impression management elucidate how nation-states participate in symbolic interactionism to distract, alter, and change their spoiled identities by interacting in key institutional spaces such as the Olympics. México City 1968 is an example of a post-colonial participating in rather than being a recipient of nationalism, modernity, and globalization and demonstrates how their participation was or was not legitimated.Item Non-Aligned Features: The Coincidence of Modernity and the Screen in Indonesia(2016-12) Yngvesson, DagIn Non-Aligned Features: The Coincidence of Modernity and the Screen in Indonesia, I deploy extensive archival, ethnographic, and participatory research on Indonesian mass media as a critical intervention in the study of cinema. Examining Indonesian cinema from independence in 1949 until the present, I focus in particular on complicating understandings of how Western technologies, techniques and ideas have functioned as catalysts or determinants for the development of both nationalism and national cinemas worldwide. I examine local cinematic canons that bear the imprint of centuries of engagement with various transnational networks and forces. In the view that emerges, the pervasive politics of left-right alignment specific to the Cold War appear radically shifted – not simply, however, to a place “between” the binary poles of the United States and the Soviet Union, or within the triad of classical, oppositional, and Third cinemas that articulate their struggle as an epic of superpowers. Instead, following many of the Indonesian cineastes and critics I study, I endeavor to open the reading, viewing, present to an older domain of aesthetics and commodity exchange in which the linear arrangement of events leading to and from the rise of capitalism in Europe is made to coincide with other probable causes of the modern. In this regard, I engage in particular with the discourses and modes of address of Javanese wayang – the conceptual-textual center of shadow play and a critical platform for Indonesian art, politics and historiography, whose narratives and screens are always positioned to “coincide” with the present state of affairs. Far from buried or brushed aside in contemporary geopolitics, I argue that the methods and perspectives underpinning media like wayang continue to act as filters that critically influence the circulation and absorption of aesthetic and political ideas. The lineage of cinema’s development in Indonesia thus defined a form and sphere of influence neither here nor there, then nor now in the broadest terms of film theory and practice.Item One Nation, Two Languages: Latinization and Language Reform in Turkey and Azerbaijan, 1905-1938(2021-05) Lummus, WesleyThis dissertation examines 20th-century Turkic Latinization, the process by which Turkic language reformers replaced the Perso-Arabic alphabet with the Latin-based New Turkish Alphabet, from a transnational perspective. Focusing on the Turkish and Soviet Azerbaijani cases, my work reconstructs the intellectual and nationalist networks that were forged across imperial and national boundaries and shaped the debates over language, modernization, and national identity in Turkey, Azerbaijan, and Central Asia. The ascendancy of Turkic Latinization, I argue, emerged with the rise of the Soviet and Kemalist states in the post-WWI period. These revolutionary states enacted far-reaching reforms to modernize all areas of life, and remake their respective societies in a Soviet or Kemalist mold. At the heart of both states’ political projects was language reform, which increasingly equated Latinization with reaching modernity. Though the Soviets and Kemalists ultimately envisioned different modernities, their language reforms of the Turkic language both drew from the same pool of Turcological and nationalist literature.Item Where there were no longer walls: globalization, nostalgia, and art in Finland.(2009-06) Wilson, Sterling PaulWhile most of the literature on art and globalization theorizes globalization in terms of its effects on art institutions and markets, I focus on the way in which artists, artworks, and institutions produce the time-space narratives of globalization rather than simply reflect them. I conceptualize globalization as a hegemonic way of articulating the relationships between time, space, and identity in the contemporary moment. As such, it comes into direct conflict with nationalism, which served as the dominant template for creating such narratives during the nineteenth and twentieth centuries. Nostalgia, a longing for a past time or lost place, plays a significant, though largely unnoticed, role in negotiating these shifting discourses of identity. As it is an aestheticization of the relationships between time and space, nostalgia is a powerful cultural tool with which to rework the relationships of the individual to the social, the local to the global, and the past to the present. Each chapter examines a broadly defined site of time-space narrative production, using artworks by artists working in Finland or in nearby Vyborg, Russia or Tallinn, Estonia. I discuss work by the following artists, filmmakers, and photographers: Eija-Liisa Ahtila, Elina Brotherus, Tellervo Kalleinen, Oskar Kochta-Kalleinen, Esko Männikkö, Petri Nuutinen, Anu Pennanen, Minna Rainio, Liisa Roberts, Kari Soinio, and Pekka Turunen. I also address institutional phenomena such as the Helsinki School, the Finnish Fund for Art Exchange, and the international biennial system.