MUP FINAL PROOF – <STAGE>, 07/18/2013, SPi
It might seem counterintuitive to start a book on internationalism by
considering nationalism – yet the two phenomena were mutually dependent.
Internationalists evoked national arguments to solicit support for their
schemes; at the same time, international congresses and associations provided
staging grounds for the representation of nationhood. Be it in science, politics
or the arts, internationalism depended upon the nation as a central point of
reference. In this respect, any discussion of
Who is responsible for the national
division of Korea? This is the central question for contemporary Koreans in
defining their identity as a nation. Contemporary Koreans have a strong
sense of nationhood since the peninsula had been ruled by a single polity
since being unified in 668 by Shilla, one of the three ancient Korean
kingdoms. 1 Moreover, the
boundaries of this single polity coincided with
Nationhood and identity
Nationhood and identity in Conservative politics
Identification with the nation and nation state has been a central theme in
Conservative politics for over a century. The party’s status as a patriotic
party safeguarding the constitution, Union and, for much of its history,
the Empire was an important factor in its political success. The appeal of the
Conservative politics of nationhood rested upon three main pillars: (i) a
coherent vision of nationhood and conservative state patriotism; (ii) effective
Daniel Pick's authoritative study of theories of degeneration and their historical contexts, Faces of Degeneration charts the development of such theories from the 1840s to the end of the First World War. David Punter has noted how Gothic narratives such as Dracula and Jekyll and Hyde indicate the presence of an anxiety about colonial decline. The analysis of Dracula and Jekyll and Hyde addresses the permeability that existed between fictional, and supposedly 'scientific' notions of the unstable, often hybrid, male subject. The chapter explores how the following British commentators responded to some of the ideas about masculinity and nation: Samuel Smiles, Charles Kingsley, Edwin Lankester and Otto Weininger. Siobhan B. Somerville argues that in sexology racial identifications were mapped on to sexual orientation. This was done so that the 'blackness' or 'whiteness' of a subject was correlated to the levels masculinity or femininity exhibited by the subject.
It has been widely asserted that nationhood is inseparable from narration. This vague
claim may be clarified by understanding that nationalism is bound up with the
universal prototypical narrative structures of heroic, romantic, and sacrificial
tragi-comedy. This essay considers an historically important case of the emplotment
of nationalism - the sacrificial organization of German nationalism between the two
world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s
Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents
the vampire in a way that is cognitively continuous with Nazi representations of
Jews. The films sacrificial emplotment of vampirism is, in turn, continuous with Nazi
policies. That continuity places the film in a larger discourse that helped to make
Nazi policies possible.
The subject of Britain reads key early seventeenth-century texts by Bacon, Daniel, Drayton, Hume, Jonson, Shakespeare and Speed within the context of the triple monarchy of King James VI and I, whose desire to create a united Britain unleashed serious debate and reflection concerning nationhood and national sovereignty. This book traces writing on Britain through a variety of discursive forms: succession literature, panegyric, union tracts and treatises, plays, maps and histories. Attending to the emergence of new ideologies and new ways of thinking about collective identities, The subject of Britain seeks to advance knowledge by foregrounding instances of fruitful cultural production in this period. Bacon’s and Hume’s pronouncements on the common ancestry, the cultural proximity of Britain’s inhabitants, for instance, evinces Jacobean imaginings of peoples and nations joining together, however tenuously. By focusing on texts printed in not just London but also Edinburgh as well as manuscript material that circulated across Britain, this book sheds valuable light on literary and extra-literary texts in relation to the wider geopolitical context that informed, indeed enabled, their production. By combining the historical study of literary and non-literary texts with the history of political thought and the history of the book broadly defined, The subject of Britain offers a fresh approach to a signal moment in the history of early modern Britain. Given its interdisciplinary nature, this book will appeal to literary historians and historians of early modern Britain as well as undergraduates and postgraduates.
This book explains theoretical work in postcolonial and postsocialist studies to
offer a novel and distinctive insight into how Yugoslavia is configured by, and
through, race. It presents the history of how ideas of racialised difference
have been translated globally in Yugoslavia. The book provides a discussion on
the critical race scholarship, global historical sociologies of 'race in
translation' and south-east European cultural critique to show that the
Yugoslav region is deeply embedded in global formations of race. It considers
the geopolitical imagination of popular culture; the history of ethnicity; and
transnational formations of race before and during state socialism, including
the Non-Aligned Movement. The book also considers the post-Yugoslav discourses
of security, migration, terrorism and international intervention, including the
War on Terror and the refugee crisis. It elaborates how often-neglected aspects
of the history of nationhood and migration reveal connections that tie the
region into the global history of race. The book also explains the linkage
between ethnic exclusivism and territory in the ethnopolitical logic of the
Bosnian conflict and in the internationally mediated peace agreements that
enshrined it: 'apartheid cartography'. Race and whiteness remained
perceptible in post-war Bosnian identity discourses as new, open-ended forms of
post-conflict international intervention developed.
Film in Korea has always been under governmental censorship. This book examines the ways in which Korean film reveals the ideological orientation of the society in which it is created and circulated. It examines the social and political milieu in which the Korean film industry developed from its beginning during the Japanese colonial period to its bifurcation into South and North Korean cinemas. The book presents a critical analysis of the selected films, which were all made between 1960 and 1990. It discusses the cultural identity of contemporary Koreans by analysing five films based on a popular traditional folk tale, Ch'unhyangjŏn. Three of the five films were made in South Korea: Shin Sangok's Song Ch'unhyang, Pak T'ae-wŏn's The Tale of Song Ch'unhyang and Han Sanghun's SongCh'unhyang. The significance of gender and class issues in Ch'unhyangjŏn can be glimpsed through the three variants of the film title. The book then examines the notion of nationhood held by contemporary Koreans from two interrelated perspectives, political and cultural. It explores the films in relation to the conflicting ideological orientations of North and South Korea. In the North Korean films, anti-imperialism constitutes the core of their definition of nationhood. Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. The book discusses six films in this context: The Untrodden Path, The Brigade Commander's Former Superior, Bellflower, A Nice Windy Day, Kuro Arirang and Black Republic.
Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.
The need for a single public culture - the creation of an authentic identity - is fundamental to our understanding of nationalism and nationhood. This book considers how manufactured cultural identities are expressed. It explores how notions of Britishness were constructed and promoted through architecture, landscape, painting, sculpture and literature, and the ways in which the aesthetics of national identities promoted the idea of nation. The idea encompassed the doctrine of popular freedom and liberty from external constraint. Particular attention is paid to the political and social contexts of national identities within the British Isles; the export, adoption and creation of new identities; and the role of gender in the forging of those identities. The book examines the politics of land-ownership as played out within the arena of the oppositional forces of the Irish Catholics and the Anglo-Irish Protestant ascendancy. It reviews the construction of a modern British imperial identity as seen in the 1903 durbar exhibition of Indian art. The area where national projection was particularly directed was in the architecture and the displays of the national pavilions designed for international exhibitions. Discussions include the impact of Robert Bowyer's project on the evolution of history painting through his re-representation of English history; the country houses with architectural styles ranging from Gothic to Greek Revivalist; and the place of Arthurian myth in British culture. The book is an important addition to the field of postcolonial studies as it looks at how British identity creation affected those living in England.