Suchergebnisse

Examines nationalism 'from below' in an exploration of four ways that nationhood is produced & reproduced in everyday life. The process by which the nation is constituted & legitimated as a discursive construct through 'talking the nation' is described, along with ways that nationhood frames the choices that citizens make ('choosing the nation'). The everyday meanings & invocations of national symbols constitute 'performing the nation,' while 'consuming the nation' refers to the constitution & expression of nationhood in everyday consumption practices.

Cover -- Contents -- List of Figures -- List of Tables -- Acronyms -- Acknowledgements -- Map of the Basque Country -- Introduction (Pedro Ibarra Güell and Iban Galletebeitia Gabiola) -- 1 The Violent Conflict: Actors, Histories, Models and Discourses (Francisco Letamendia) -- 2 Legacies of the Past and Basque Identity after the Democratic Transition (Henar Criado) -- 3 The Ethno-linguistic Movement and Linguistic Self-determination in Euskara (Ane Larrinaga and Mila Amurrio) -- 4 Identity, Territoriality and Basque Secessionism: The Issue of Navarre (Asier Blas)

AbstractThis article examines the meanings of Indian nationhood at the grassroots level in "settled" locales where no state‐seeking separatist movement exists but local identifications of caste, language and religion are politically prominent. Based on ethnographic data from four rural and urban locales, the article extends the literature on Indian nationalism and everyday nationalism. At the grassroots, Indian nationhood is fuzzy and intermittent in nature; "conceptual frames" are a useful analytical tool to examine this, with a focus on territory, community and political leadership. Indian nationhood is not conceptualised predominantly as a cultural category; it is meaningful as a journey towards an ideal horizon defined by the values of dignity, rights, freedom, equality and socio‐economic development. Non‐elites play an active role in nation‐making and invoke these frames strategically and self‐consciously for local and particular purposes.

This article examines the new Kazakh nation-state's attempt to provide a history to its people and how this attempt functions as a sort of "nomadic nationhood": an ongoing, vibrant process of building both a sense of national identity and a sense of historical remembrance that center on nomads. The state has taken the lead in this nation-building exercise, and Kazakh films, often relying on state support, have also played a starring role. Surveying a number of recent Kazakh films, the author argues that Kazakh filmmakers, responding to President Nursultan Nazarbayev's calls to create national narratives, have turned to nomads and the nomadic past as the source for Kazakh nationhood and remembrance. The reception among Kazakh citizens has produced a mixed bag: many audience members have celebrated what they see as a "new Kazakh patriotism" articulated onscreen. Others have criticized certain aspects of the onscreen nomadic nationhood, particularly the Kazakh state's role in promoting it and Kazakh filmmakers' adaptation of Hollywood techniques. Still others have stayed away from Kazakh films entirely, choosing instead to check out the latest Hollywood blockbusters. As a result, Nazarbayev declared in late 2009 that Kazakh filmmakers should start to pay more attention to the present and not just the past, but the cinematic nomadic nationhood has not stopped. The May 2012 film Myn Bala [A Thousand Boys] mines the same historical territory as 2005's The Nomad , the film that in many ways initiated the new Kazakh cinema's turn to the nomadic past.
В статье рассматривается политика истории в современном Казах­стане, который продвигает концепцию "кочевой национальности". Стивен Норрис понимает эту политику как живой процесс строи­тельства национальной идентичности и формирования исторической памяти, в центре которой кочевое прошлое. Казахский кинематограф, располагающий государственной поддержкой, играет в этом проекте национального государства важнейшую роль. В статье анализируется несколько недавних казахских фильмов, авторы которых отозвались на призыв президента Нурсултана Назарбаева создать национальный казахский нарратив. Они обращаются к кочевникам и кочевому прошлому как к источнику казахской национальности и памяти. Норрис анализирует образный язык и идеологическое послание этих фильмов и их восприятие аудиторией. Автор реконструирует диапазон оценок от восторженно-патриотических до умеренно критических и откровенно индифферентных и делает вывод о функционировании концепции "кочевой национальности" в современном казахстанском обществе.

AbstractNational celebrations are one of the ways by which nations attempt to maintain connectedness with the past and strengthen national identities. Centenary celebrations, in particular, make identity questions visible and bring them to the centre of public debate and, thus, provide an opportunity to examine question such as 'where do we come from' and 'where are we going'. In this research, we examine conceptions of nationhood and history in the year of the Finnish centenary 2017. As the Finnish centenary programme was simultaneously organised 'from above' as an elite‐driven and 'from below' as citizen‐driven collective endeavour, it provided unique material for exploring the construction, meanings and negotiations of social representations of nationhood and history. Our analysis brings forth the power struggle of meanings, the ways in which hegemonic narratives are challenged and contested and the ways in which affects and emotions are entangled with the meaning‐making in commemoration and nation‐building practices, for example, by employing narrative empathy in commemorations. Different projects of the centenary programme make different subject positions available for the participants, such as a position of hardworking Finn or brave Finn in hegemonic narratives and, respectively, a position of emancipated women or fragile and traumatised soldiers in alternative narratives.

This article analyzes the Memorial Hall for Victims of the Nanjing Massacre by Japanese Invaders, opened in its present form in 2007 to commemorate the massacre perpetrated by the Japanese in 1937, when in the course of six weeks a significant number of harmless civilians were brutally slaughtered. The memorial is a highly complex semiotic object: it includes a large museum but is also, and perhaps above all, a huge thematic park that occupies an extremely large surface area of seventy-four thousand square meters. Through a close reading of the site, this article seeks to show how the Nanjing Memorial, more than serving the function of conservation and transmission of a tragic, traumatic memory, is mostly a monument to Chinese nationhood, an important step in the construction of a new national identity.

AbstractThis article analyses the way the concept of nation is reflected in film using the theory of cinematic nationhood and the method of relational constructivism. More specifically, it looks at how the nation can be legitimised when it occupies a strategic position within the national structure of fantasy and when it is closely associated with the most relevant commonplaces present within the social space. The article further investigates the situation in which the concept of nation loses legitimacy because of a change in the way it is imagined. The research addresses the case of Romania, choosing three films representing three distinct periods and characterised by different forms of political and economic organisation: communism, transition, and post‐transition.