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7 The limits of cultural nationalism In 1933 Daniel Binchy, a professor of legal history and jurisprudence at University College Dublin (UCD), published an astute article in Studies on Adolf Hitler.1 He had represented the Saorstát government as a diplomat in Berlin from 1929 to 1932. Binchy had first heard Hitler speak in Munich in 1921, and at the time he described Hitler to a friend as ‘a harmless lunatic with the gift of oratory’. The friend retorted: ‘No lunatic with the gift of oratory is harmless.’2 His article on Hitler appeared when Ireland was in the
11 1 The legacy of Catholic cultural nationalism and religious segregation The historical overview presented in this chapter seeks to facilitate an understanding of the major characteristics of the present school system in the Republic of Ireland, not only by giving an insight into the main elements of permanence and change but also by showing that certain contemporary aspects of the link between religion and education in the Republic were introduced more recently than is often believed. The main structural characteristics of the present system reflect
This book is a response to a demand for a history which is no less social than political, investigating what it meant to be a citizen of England living through the 1570s and 1580s. It examines the growing conviction of ‘Englishness’ in the sixteenth century, through the rapidly developing English language; the reinforcement of cultural nationalism as a result of the Protestant Reformation; the national and international situation of England at a time of acute national catastrophe; and through Queen Elizabeth I, the last of her line, who remained unmarried throughout her reign, refusing to even discuss the succession to her throne. The book explores the conviction among leading Elizabethans that they were citizens and subjects, also responsible for the safety of their commonwealth. The tensions between this conviction, born from a childhood spent in the Renaissance classics and in the subjection to the Old Testament of the English Bible, and the dynastic claims of the Tudor monarchy, are all explored at length. Studies of a number of writers who fixed the image of sixteenth-century England for some time to come; Foxe, Camden and other pioneers of the discovery of England are also included.
From 1943 until 1950, Emilio Fernández was regarded as one of the foremost purveyors of 'Mexicanness,' as one of the most important filmmakers of the Mexican film industry. This book explores the contradictions of post-Revolutionary representation as manifested in Fernández' canonical 1940s films: María Candelaria, Víctimas del pecado, Las abandonadas, La perla, Enamorada, Río Escondido, Maclovia and Salón Mexico. It examines transnational influences that shaped Fernández' work. The book acknowledges how the events of the Mexican revolution impacted on the country's film industry and the ideological development of nationalism. It takes note of current tendencies in film studies and postcolonial theory to look for the excesses, instabilities and incoherencies in texts, which challenge such totalizing projects of hegemony or cultural reification as 'cultural nationalism' or ' mexicanidad.' The book looks at how classical Mexican cinema has been studied, surveying the US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses. Fernández's Golden Age lasted for seven years, 1943-1950. The book also examines how the concept of hybridity mediates the post-Revolutionary discourse of indigenismo (indigenism) in its cinematic form. It looks specifically at how malinchismo, which is also figured as a 'positive, valorisation of whiteness,' threatens the 'purity' of an essential Mexican in María Candelaria, Emilio Fernández's most famous indigenist film. Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity.
reiterate (rather than analyzing) how films like Nosotros los pobres (We the poor, Ismael Rodríguez, 1947) facilitated the project of cultural nationalism. In such readings 1940s Mexican films became the forum for renegotiating collective values and beliefs, creating a sense of ‘national identity’ or ‘ mexicanidad’ in the urban and also the rural masses displaced to the cities by the revolution. This is the myth of Mexican
decline along with the cinema and ideological absolutes (Mexican cultural nationalism) which he represented, and that this directorial exclusion should reflect discrimination against him as ‘Indio’ (Tuñón, 1993 : 165) rather than reflecting the industrial crisis which ruled out the kind of expensive quality filmmaking at which Fernández had excelled. The blurring between director and film which is part of his
Fernández’ oeuvre as contradictory, non homogeneous and evident of a fissured cultural nationalism. Beginnings: importation, exhibition and attraction The history of cinema in Mexico begins only months after its commercial introduction in Paris in December 1895. Following the established routes of transatlantic commerce, two Lumière projectionist-operators – Gabriel Veyre and C.F. Bon – arrive in Mexico City in
’ Mercedes, Margarita and Violeta are others, excluded from society, they are largely pardoned for their prostitution and in some cases stealing by narratives which cast them as heroines, albeit tragic heroines. Thus, rather than questioning the status quo, the narrative positions these characters as both victims and abnegated women, reifying them within a dominant perspective of Mexican cultural nationalism in terms of its
considerable extent the Catholic education system embraced this cultural nationalism. Catholicism and cultural nationalism both became key elements of the modernisation of Irish society and identity. The war of independence was followed by a civil war (1922–23) and partition. The focus of this collection of essays is upon bounded debates and conflicts within the jurisdiction of the Republic, but the ongoing influence of the north and of post-partition aspirations for a united Ireland also needs to be acknowledged. Partition resulted from the terms of the truce that ended the
Nation Once Again’, listed what he saw as some of the most powerful weapons of cultural nationalism: National books, and lectures and music – national painting and busts and costume – national songs, and tracts, and maps – historical plays for the stage – historical novels for the closet – historical ballads for the drawing room – we want all these, and many other things illustrating the history, the resources and the genius of our country, and honouring her illustrious FANNING 9781784993221 PRINT.indd 175 19/01/2016 13:25 176 Irish adventures in nation