74 research outputs found
When Was the Nation ? Golden Ages and Identities
Arreu dâEuropa, el nacionalismeromĂ ntic tendia, en la seva faseinicial, a desenvolupar una enyorançamedievalista. AixĂČ prenguĂ© unaforma especĂfica en aquelles Ă rees on,durant lâĂšpoca feudal, havien estatreialmes independents, i que varenperdre aquesta independĂšncia feudalcom a conseqĂŒĂšncia del procĂ©s demodernitzaciĂł. ContrastarĂ© exemplesde reflexions literĂ ries sobre «la pĂšrduade la sobirania» escrites a EscĂČcia,PolĂČnia, Hongria i Catalunya, per talde correlacionar la seva apariciĂł, comtambĂ© la seva obsolescĂšncia en fasesposteriors de desenvolupament
Heart to Heart: The Power of Lyrical Bonding in Romantic Nationalism
In nineteenth-century nation-building, the textual genres investigated by researchers are usually long-distance, mediated ones, such as journalism and the novel. This article attempts to assess the function of a much more intimate literary genre, the lyrical, in that process. Lyricism was a central poetical element in Romanticism; its emotive, affect-centered mode was seen as specifically âimmediateâ, non-mediatized and deeply personal (and therefore non-political). How could this register aid the formation of self-defining national communities? The article suggests a special role for female poets and a privileged position of the lyrical in the interplay between print-disseminated literature and oral-performative literature, in shaping the nation as an âemotive communityâ
Notes toward a Definition of Romantic Nationalism
While the concept âRomantic nationalismâ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and nationalism. In order to come to a more focused understanding of the concept, this article surveys a wide sample of Romantically inflected nationalist activities and practices, and nationalistically inflected cultural productions and reflections of Romantic vintage, drawn from various media (literature, music, the arts, critical and historical writing) and from different countries. On that basis, it is argued that something which can legitimately be called âRomantic nationalismâ indeed took shape Europe-wide between 1800 and 1850. A dense and intricately connected node of concerns and exchanges, it affected different countries, cultural fields, and media, and as such it takes up a distinct position alongside political and post-Enlightenment nationalism on the one hand, and the less politically-charged manifestationsof Romanticism on the other. A possible definition is suggested by way of theconclusion: Romantic nationalism is the celebration of the nation (defined by its language, history, and cultural character) as an inspiring ideal for artistic expression; and the instrumentalization of that expression in ways of raising the political consciousness
Rebirth of a nation or 'The incomparable toothbrush': the origin story and narrative regeneration in Sri Lanka
I examine the post-Independence role of Sri Lankaâs origin story, revealing the ways in which the foundational myth of the Mahavamsa functions as a conflicted site of cultural âencompassmentâ (Kapferer) in literary and political discourse. Through an analysis of the fiction of Tissa Abeysekara, Carl Muller and the assassinated president Ranasinghe Premadasa, I show how the scripting of this myth in fiction reveals a shift from the celebratory drives of nationalism to a critique of patriotism in a way that both reflects and anticipates a broader paradigmatic shift in the construction of belonging and the outsider found in post-war Sri Lanka
âOf every land the guestâ: Aubrey de Vereâs travels
This is an Accepted Manuscript of an article published by Taylor & Francis in Studies in Travel Writing on 01/06/2016, available online: doi: 10.1080/13645145.2016.1169589The experience of travel, the figure of the traveller, the relationship between landscape and nationality, and a complex attitude towards colonization are extremely important in the poetry and prose of Aubrey de Vere. Alongside ideas of emigration and exile in the Irish context, the wider intellectual and spiritual significance of travel is explored in poems such as âA Farewell to Naplesâ, âLines Written Under Delphiâ, or âA Wandererâs Musings at Romeâ, and in de Vereâs travel book Picturesque Sketches of Greece and Turkey (1850). De Vereâs ideal traveller must be hardy, embracing âan emancipation from the bondage of comfortsâ, and reining in his exuberant Romantic sensibility with careful âmanagement of the mindâ and âmoral temperanceâ. This is very far removed from âthat universal nuisanceâ, the Philistine Englishman abroad, of whom he is reminded all too frequently, particularly in Greece and in the Ionian islands, a British protectorate. But de Vereâs self-definition against the English traveller begins to unravel in Constantinople, where he embraces a new national identity as a Frank among an alien people. His experiences in the East also redefine his understanding of Ireland as âan Eastern nation in the Westâ
Imagology: On using ethnicity to make sense of the world
International audienceThis article outlines the theory and method of imagology, the discursive study of ethnotypes (stereotypical attributions of national character). Imagology has a respectable history and academic presence, but adjustments are needed in the light of recent developments. These include: [a] the replacement of the national-modular categorization of literary traditions by a polysystemic approach; [b] the decline of print fiction as a the premier narrative medium, and the rise of film, TV, and other media; [c] the realization that ethnotypes are often encountered in occluded form (deployed ironically or as "meta-images"; or in a «banal» or latent background presence, as dormant frames); [d] new, «intersectional» notions of identity formation; [e] the demise of Eurocentrism and the rise of postnationalism. While these emerging challenges call for an adjustment of imagological analysis, the present climate of identity politics also demonstrates an ongoing, indeed urgent need to address what remains the core business of imagology: deconstructing the discourse of national and ethnic essentialism.Cet article dĂ©crit la thĂ©orie et la mĂ©thode de lâimagologie, lâĂ©tude discursive des ethnotypes (attributions stĂ©rĂ©otypiques de caractĂ©ristiques nationales). Historiquement et dans le monde universitaire, lâimagologie jouit dâune respectabilitĂ© indĂ©niable, mais des ajustements sont nĂ©cessaires en raison de certaines Ă©volutions rĂ©centes. Ces Ă©volutions comprennent : a) Le remplacement de la catĂ©gorisation modulaire nationale des traditions littĂ©raires par une approche polysystĂ©mique ; b) Le dĂ©clin des ouvrages de fiction imprimĂ©s en tant que support narratif dominant, face au dĂ©veloppement des films, de la tĂ©lĂ©vision et dâautres mĂ©dias ; c) Le constat que les ethnotypes sont souvent prĂ©sents de façon cachĂ©e (employĂ©s de façon ironique ou comme « mĂ©ta-images » ; ou encore sous forme de prĂ©sence « banale » ou latente en arriĂšre-plan, comme cadres implicites) ; d) De nouvelles notions « intersectionnelles » quant Ă la constitution de lâidentitĂ© ; e) La fin de lâeurocentrisme et la montĂ©e du postnationalisme. Ces remises en question nĂ©cessitent Ă©videmment un rĂ©ajustement de lâanalyse imagologique, mais le contexte actuel des politiques identitaires dĂ©montre Ă©galement quâil continue dâĂȘtre nĂ©cessaire, et mĂȘme urgent, de sâattaquer Ă ce qui reste le cĆur de lâimagologie : la dĂ©construction du discours essentialiste sur la nation et lâethnicitĂ©
Note per una definizione del nazionalismo romantico Notes towards a definition of romantic nationalism
Sebbene il concetto di «nazionalismo romantico» stia diventando sempre piĂč diffuso, il suo utilizzo corrente tende ad accentuare la vaghezza inerente ai due termini che ne sono costitutivi, il Romanticismo e il nazionalismo. Il fine di questo articolo Ăš di delineare il concetto in maniera piĂč chiara e definita, e a tale scopo viene qui preso in esame un vasto campione di attivitĂ e pratiche nazionaliste declinate in chiave romantica e di produzioni e riflessioni culturali di epoca romantica declinate in chiave nazionalistica provenienti da vari paesi e tratte da diversi tipi di media (letteratura, musica, arti, storiografia e critica). Su tale base si sostiene qui che un fenomeno legittimamente definibile come ânazionalismo romanticoâ abbia effettivamente preso forma in tutta Europa fra il 1800 e il 1850. Si tratta di un nodo denso e aggrovigliato di connessioni di interessi e di scambi che influenzĂČ diversi paesi, ambiti culturali e media e che in quanto tale occupa una posizione distinta a fianco del nazionalismo post-illuminista da un lato e delle manifestazioni politicamente meno scottanti del Romanticismo dallâaltro. A moâ di conclusione viene proposta una possibile definizione: il nazionalismo romantico Ăš la celebrazione della nazione (definita dalla sua lingua, dalla sua storia e dal suo carattere culturale) come ideale ispiratore dellâespressione artistica e lâutilizzo di tale espressione nelle modalitĂ di elevamento della coscienza politica. While the concept «Romantic nationalism» is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and nationalism. In order to come to a more focused understanding of the concept, this article surveys a wide sample of Romantically inflected nationalist activities and practices, and nationalistically inflected cultural productions and reflections of Romantic vintage, drawn from various media (literature, music, the arts, critical and historical writing) and from different countries. On that basis, it is argued that something which can legitimately be called âRomantic nationalismâ indeed took shape Europe-wide between 1800 and 1850. A dense and intricately connected node of concerns and exchanges, it affected different countries, cultural fields, and media, and as such it takes up a distinct position alongside political and post-Enlightenment nationalism on the one hand, and the less politically-charged manifestations of Romanticism on the other. A possible definition is suggested by way of the conclusion: Romantic nationalism is the celebration of the nation (defined by its language, history, and cultural character) as an inspiring ideal for artistic expression; and the instrumentalization of that expression in ways of raising the political consciousness
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